The Maine Summer Eugene O'neill

Total Page:16

File Type:pdf, Size:1020Kb

The Maine Summer Eugene O'neill The Maine Summer Eugene O'Neill ecause th e pJa}"\Tight Eugene 0 ' eill, hailed by many a th e be t American dramatist ofthe 20th century, spent the summer of 1926 at Belgrade Lake, hi Blife, and perhaps arguably, the literary worl d, wa changed forever. Had he not summered here in Maine that fateful yea r, dcep in the creation of trange Interlude, he may have not met a certain lady, and he may also have plunged back into a world of heavy drinking. 0' Tcill had only quit drinking a few month before and he was detennined as ever to continue to write. That certain lady, Carl otta Monterey, who would become his third wife, would one day fight to publish one of his grea test plays posthumou Iy, just as he wi hed it, without changes. Eugene stated that he couldn't have written it without her. The play, Long Day's loumey into ight, would eam 0 ' eill a fourth Pulitzer Prize. But we are ahead of our story. We must travel back to a hotel room in ew York City on October 16, 1888, where Eugcne 0 ' eill was bom. Ironica ll y, Portl and, Maine, wa nearly Eugene's birthplace, becau e hi father, th e great ri sh ac tor and matinee tar James 0 ' ei ll , along with his fam il y, had been in town here for extended performances of The Count of 10nte Cristo just weeks earlier. The elder 0 ' eill , who at the time was king th e stage with the great tragedian dwin Booth, had come to loathe his role of leading man Edmond MATTHEW JUDE BAR KE R MAy • PORTLAND MAGAZINE • 25 Dantes in Charl e echter' adaptati on of After yea rs of roaring fights with hi ia. Jamie wa placed in a anitarium, th e Al exandre Duma novel, having father, Eugene was able to patch ~lin g battling real and imagined demon, played it more than than 6,000 times up W i~l him before he died in 1920. His where he di ed oon after. h between I 3 and 191 , re ulting in a mother Ell a, who became a morphine Eugene did not want to end up that I stultifying but fin ancially secure career. addict after the birth of Eugene, fin all y way. Reali zing the terrible pa radox of a But now there was the promise of hi went traight in 1914 and was put in being a great writer and a great drinker, new on, a promi e fulfill ed. charge of her late husband's estate, which ~l e playwright unden\'ent a brief p ycho­ o y th e ummer of 1926, young included real estate all over the country. analytical peri od and with only a fe \\ 11 Eugene 0 ' leill had tumed 3 and Eugene' m O ~l e r died unexpectedly in slips, never drank aga in . Ii Bhad already won two Pulitzer Prizes Lo Angeles in 1923. t the time, Eu­ ll1e events of 1923 we re th e ba i for for hi plays Beyond the Horizon, a four-act gene' play The Hai ry Ape was in pre­ 0 ' leill 's last compl eted play, one of hi tragedy et on a [ ew ngland fa nn , and production. The night the play opened in greatest, A Moon fo r the Ii begotten Anna Christie. ot only that, 0 ' leiII had [ ew York, Eugene's bro~l e r Jamie, (1943/1947). alrcady done enough living for ~lree men. extremely intoxicated, arrived Wi~l ~l e ir In the spring of 1926 Eugene wrote toa He'd attended Catholi c prep chool , m O ~l e r's bod on the train from Califom- fri end that he needed new ports of call, fl unked out of Princeton after two e pec iall y a place to li ve and write fo r the emester , ma rri ed, di vo rced, and Miss Carlotta Monterey, ummer. He necded a place to work, re marri ed, had three children, mined for relax, and above of all stay ober. gold in Hondura , was a eaman, li ved recently divorced, and rrangements were made b ' Eugene' and pent much ti me in saloon and once a bit actor in one of literary agent and summcr rc iden t of f1 ophou e in [ ew York, \ as a new paper - , Belgrade Lakc , Ma ine, Richard lad­ reporter and poet in ew London, pent ':r :01\Ieilrs plays, came to den, to preview ome propertie , \\'ho a winter in a anitarium recovering from jumped on the telephone. Ju t a fe \\ tuberculo i ,studied playwriting at . .. nearby Long Pond. Carlotta weeks, a train ride, and a breath offr h Han'ard, pent a winter at Bell evue after was a fetching sight, air later, the 0 ' leili s, incl uding hi he lTied to commit alcoholic suicide, econd wife Agncs Boulton, ~le ir on helped found the Provi ncetown especiaHy when she hane Rudraighe, 6, and da ughter Oona (Ma sachusetts) Playhou e, and received a not ye t 2, arrived and we re en conced in gold medal from ~l e ati onalln tih.lte of appeared in a risque the real e ta te offi ce of EnTin A. Bean, Arts and Letter . And on top of it all , he brother of celebrated outdoorsman L. L. uffered several personal tragedies. bathing sun. Bean, searching for th e pcrfect lakefront • getaway and perhaps a bit more. 0 ' eill wa about to embark on one of his strange interlude, the one we all hare as residents of th e very complex and pine- hored state of aine. The 0 ' eills finall y settled on a cottage on Belgrade Lake named Loon Lodge, a name he relished and commented on to friend . t one point he wrote that, "The b day Eugene and Agnes O'NeIl visited Miss Marburl and Carlotta was asked to show Eugene the bathhouse so he could change for a swim. above name of our camp i no horrible ·:t . , je t but a fact! After a winter spent at ,'; Bellevue, I'll ay it looks as if God had taken to symbolism, what? However, I remain not only ane, but al 0 ober.' eat once went to work on tral1ge Interlude, a play he hopcd to fini sh Hthat ummer. 0 ' eill cnjoyed relaxing on the lake and keeping up with \\'imming, which he loved. The local who a\ the tall , dark-haired, impre ive­ looking 0 '1 eill probably never realized he best way to find professional help is to they had a famou playwright in their ask friends and neighbors who whey've mid t. Workmen built a tar-papered Tused ... who they recommend. hack for 0' lei II away from the cottage Start asking around about financing for a new itself, where he cou ld e cape to wri te, home, a real estate investment or construction and you'll start to hear the name Phil Laughlin. a\\'3y from creaming kids and all the Phil's been a loan officer for ten years and has other distraction at the cottage, which owned First Financial Mortgage for the past included a vi it by Eugene' elde t child , eight. He makes sense ... suggesting things like Eugene Jr. , of whom he had een little getting pre-approval on you loan before you over the yea r . shop ... and being approved without your loan being subject to the sale of your current home. After his writing e ion s, 0 ' eill would Phil Laughlin is a local guy working for a local make a beeline for the water and swim lender. .. and doing a great job, too. In fact, Phil's almo t a half mile to a mall point and First Financial Mortgage is the number on back again. Onl then wa he ready for mortgage company per volume in Cumberland chit-chat. County. Thafs a lot of happy customers, a lot of good referrals. Ask around ... then call Phil 0'1 eill was at fir t content with his stay Laughlin ... 775-42-hundred. Whether you're at Loon Lodge, but by early ugust, after buying a home, investment property or need a a month at the retreat, he began to brood construction loan, let Phil Laughlin make the and hi writing darkened. His new play F. Philip Laughlin Parter/loan Officer process easy. Call him today ... 775-42-hundred. \1<1 giving him kicks and fits, and he \\<lnted to blame his wife Agnes, hi toddler children, and even hi on Eugene and Agne' daughter Barbara First Financial Mortgage from a previou marriage, who had al 0 come to tay for awhile. The older children were eventually hipped away F. Philip Laughlin Parter/Loan Officer from the lake ahead of schedule. 78 Atlantic Place • South Portland, Maine 04106 \t the same time, another play, La::arus [email protected] · (207) 775-4200 Ext. 202 · Toll Free 1-888-775-4200 Laughed, wa finding a cool reaction from the literal)' critic in ew York, and she admitted he at fir t felt indifference tarted taking frequent trip by car around he feared that for the first time in yea r he toward the pIa) vright, a spark was oon tile Maine countryside, often accompan­ may not have any plays on the boards the ignited. They would often meet by "acci­ ied by gu ides like Ervin Bean.
Recommended publications
  • Biography of Eugene O'neill
    Biography of Eugene O’Neill Trevor M. Wise Eugene Gladstone O’Neill was born on October 16, 1888, at the Barrett hotel in New York city, New York, son of James o’Neill, a well-known matinee idol, and Mary Ellen (Ella) Quinlan. Much of O’Neill’s youth was spent in the wings of the theater as he toured the country with his parents and older brother Jamie, watching his father perform his most famous role—the Count of Monte Cristo. When not touring the country with his family, O’Neill attended Catholic boarding school at St. Aloysius Academy at Mount Saint Vincent in the Bronx borough of New York. he then spent four years at Betts Academy, a non-sectarian prep school in Stamford, Connecticut. O’Neill spent the summers with his family at the Monte Cristo Cottage in New London, Connecticut, the only permanent home O’Neill knew as a child. in 1903, at the age of fifteen, o’Neill became aware of his mother’s morphine addiction and was introduced to alcohol by his brother Jamie, setting him on a path of heavy drinking and alcohol abuse. in the fall of 1906, o’Neill enrolled in princeton University, only to be expelled in the following spring for his poor academic per- formance. in october 1909, o’Neill secretly married Kathleen Jenkins, his first of three wives. Shortly after the wedding, o’Neill set sail for honduras to prospect for gold, but found none. While abroad, O’Neill lived the life of a waterfront derelict, working odd jobs and drinking heavily, until he contracted malaria and was forced to return to the United States.
    [Show full text]
  • O'neill and Nietzsche: the Making of a Playwright and Thinker
    Loyola University Chicago Loyola eCommons Dissertations Theses and Dissertations 1974 O'Neill and Nietzsche: The Making of a Playwright and Thinker Regina Fehrens Poulard Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_diss Part of the English Language and Literature Commons Recommended Citation Poulard, Regina Fehrens, "O'Neill and Nietzsche: The Making of a Playwright and Thinker" (1974). Dissertations. 1385. https://ecommons.luc.edu/luc_diss/1385 This Dissertation is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Dissertations by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 1974 Regina Fehrens Poulard 0 'NEILL AND NIEI'ZSCHE: THE MAKING OF A PI.A'YWRIG HT AJ.'JD THDl'KER by Regina Foulard A Dissertation Submitted to the Faculty of the Graduate School of Loyola University of Chicago in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy June 1974 ACKNOWLEIGMENTS I wish to thank the director of llzy" dissertation, Dr. Stanley Clayes, and llzy" readers, Dr. Rosemary Hartnett and Dr. Thomas Gorman, for their kind encouragement and generous help. ii PREFACE Almost all the biographers mention Nietzsche's and Strindberg's influence on O'Neill. However, surprisingly little has been done on Nietzsche and O'Neill. Besides a few articles which note but do not deal exhaustively with the importance of the German philosopher1 s ideas in the plays of O'Neill, there are two unpublished dissertations which explore Nietzsche's influence on O'Neill.
    [Show full text]
  • Ah, Wilderness! by Eugene O’Neill
    By Eugene O’Neill Directed by Douglas C. Wager Spring 2002 Guthrie on Tour Study Guides are made possible by STUDY GUIDE T H E G U T H R I E T H E A T E R J O E D O W L I N G Artistic Director The Guthrie Theater receives support from the National Endowment for the Arts. This activity is made possible in part by the Minnesota State Arts Board, through an appropriation by the Minnesota State Legislature. The Minnesota State Arts Board received additional funds to support this activity from the National Endowment for the Arts. ============================================================================================================ Ah, Wilderness! by Eugene O’Neill With this production, the Guthrie honors the generosity of Target, Marshall Field's Project Imagine and the National Endowment for the Arts with support from the Heartland Arts Fund. =============================================================================================================== A S T U D Y G U I D E published by The Guthrie Theater Senior Editor: Michael Lupu Editor: Belinda Westmaas Jones Research: Dramaturg: Michael Maletic Kate Bredeson Jason Brown Sam Chase Produced with the support of: Jo Holcomb Jo Holcomb Belinda Westmaas Jones Sheila Livingston Michael Lupu Catherine McGuire Michael Maletic Julie McMerty Shane R. Mueller Carla Steen Patricia Vaillancourt Website Layout and Maintenance: Patricia Vaillancourt All rights reserved. No part of this Study Guide may be reproduced in any form or by any means, electronic or mechanical, including photocopying or recording, or by an information storage and retrieval system, without permission in writing from the publishers. Some materials published herein are written especially for our Guide. Others are reprinted by permission of their publishers.
    [Show full text]
  • Ah, Wilderness! the First Production 4
    AUDIENCE GUIDE Compiled and Edited by Jack Marshall September-October 2007 About The American Century Theater The American Century Theater was founded in 1994. We are a professional company dedicated to presenting great, important, and neglected American plays of the Twentieth Century… what Henry Luce called “the American Century.” The company’s mission is one of rediscovery, enlightenment, and perspective, not nostalgia or preservation. Americans must not lose the extraordinary vision and wisdom of past playwrights, nor can we afford to lose our mooring to our shared cultural heritage. Our mission is also driven by a conviction that communities need theater, and theater needs audiences. To those ends, this company is committed to producing plays that challenge and move all citizens, of all ages and all points of view. In particular, we strive to create theatrical experiences that entire families can watch, enjoy, and discuss long afterward. These study guides are part of our effort to enhance the appreciation of these works, so rich in history, content, and grist for debate. Like everything we do to keep alive and vital the great stage works of the Twentieth Century, these study guides are made possible in great part by the support of Arlington County’s Cultural Affairs Division and the Virginia Commission for the Arts. 2 Table of Contents Ah, Wilderness! The First Production 4 Eugene O’Neill 7 By Edward L. Shaughnessy Filtering America’s Past Through Sunlight: 15 Eugene O’Neill’s Ah, Wilderness! By Yvonne Shafer The 2007-2008 American Century Theater Season 3 Ah, Wilderness!--- The First Production The original 1933 Broadway cast of Ah, Wilderness! was… Nat Miller...............................................George M.
    [Show full text]
  • Study Guide For
    Study Guide for Written by Róisín McBrinn and Sam Maynard Edited by Sam Maynard Rehearsal Photography by Marc Brenner Production Photography by Johan Persson This programme has been made possible by the generous support of the Harold Hyam Wingate Foundation 1 Contents Section 1: Cast and Creative team Section 2: An Introduction to Eugene O’Neill Eugene O’Neill: A timeline ‘Dat ole Davil’ – Eugene O’Neill, ANNA CHRISTIE, and the sea Section 3: ANNA CHRISTIE – The play Key Themes of ANNA CHRISTIE An introduction to the Three Principal Characters Section 4: Inside the Rehearsal Room A Discussion with Paul Wills, Designer A Discussion with David Hayman, playing Chris Christopherson Extracts from Assistant Director Simon Evans’ Rehearsal Diary Section 5: ANNA CHRISTIE in performance Before seeing the production: Practical Exercise After seeing the production: Discussion Exercise Section 6: Further Study Ideas for further reading Bibliography 2 section 1 Cast and Creative Team Cast: Paul Brightwell Jenny Galloway David Hayman Johnny the Priest Marthy Owen Chris Christopherson Jude Law Robert Lonsdale Henry Pettigrew Mat Burke Postman Larry Michael Walters Matt Wilman Ruth Wilson First Longshoreman Second Longshoreman Anna Christopherson Other roles played by members of the company. 3 Creative Team: ROB ASHFORD Director For the Donmar: as Director: Concert Performance of Merrily We Roll Along, A Streetcar Named Desire. As Director & Choreographer: Parade. As Choreographer: Guys and Dolls (Piccadilly). Theatre: As Director in London: Shrek the Musical. As Director on Broadway: How to Succeed in Business Without Really Trying, Promises Promises. As Choreographer on Broadway: Cry Baby, Curtains, The Wedding Singer, Thoroughly Modern Millie – Tony Award for Best Choreography.
    [Show full text]
  • The Portrayal of the Ideal Male in Selected Works of Eugene O'neill
    CORE Metadata, citation and similar papers at core.ac.uk Provided by OPUS: Open Uleth Scholarship - University of Lethbridge Research Repository University of Lethbridge Research Repository OPUS http://opus.uleth.ca Theses Arts and Science, Faculty of 2012 The portrayal of the ideal male in selected works of Eugene O'Neill Driedger, Benjamin Albert Lethbridge, Alta. : University of Lethbridge, Dept. of English, c2012 http://hdl.handle.net/10133/3238 Downloaded from University of Lethbridge Research Repository, OPUS THE PORTRAYAL OF THE IDEAL MALE IN SELECTED WORKS OF EUGENE O’NEILL Benjamin Albert Driedger B.A. (English), University of Lethbridge, 2012 A Thesis Submitted to the School of Graduate Studies of the University of Lethbridge in Partial Fulfilment of the Requirements for the Degree MASTERS OF ENGLISH Department of English University of Lethbridge LETHBRIDGE, ALBERTA, CANADA © Ben Driedger, 2012 To Gretchen, who taught me the joy of teaching, To Maureen, who taught me the joy of academia, and to Tanis, who taught me joy. iii Abstract A woman’s choice between a starry-eyed dreamer and a pragmatic businessman ends in disaster. This situation is a motif in the works of Eugene O’Neill, and examining its occurrences in Beyond the Horizon, The Great God Brown, Strange Interlude and Long Day’s Journey into Night sheds light on the “seeker” (the starry-eyed dreamer) and “provider” (pragmatic businessman) characters in O’Neill’s work as well as his understanding of what women believe is the “Ideal Male.” Through his work, O’Neill questions whether women really want a seeker or a provider and, perhaps, would prefer a father instead.
    [Show full text]
  • Strange Interlude by Eugene O’Neill
    A publication of the Shakespeare Theatre Company ASIDES 2011|2012 SEASON • Issue 4 Michael Kahn directs Strange Interlude by Eugene O’Neill Michael Kahn talks about his journey to Strange Interlude page 3 The Eugene O’Neill Festival Guide page 20 Celebrating 25 years of Classical Theatre A publication of the Shakespeare Theatre Company Dear Friend, ASIDES This issue of Asides highlights In Pursuit Eugene O’Neill’s Strange Interlude, a play I have wanted to share with 3 In Pursuit of Happiness you for a very long time. This rarely by Norman Allen of performed masterpiece earned O’Neill his third Pulitzer Prize for 5 The Battle at Journey’s End Drama, and played a part in winning him the by Arthur Gelb and Barbara Gelb Nobel Prize in Literature. Its novelistic complexity Happiness and experimental form have rendered it a classic, 8 Eugenic O’Neill and with intriguing possibilities for reinterpretation Michael Kahn’s Journey Strange Interlude and restaging. by Tamsen Wolff to Strange Interlude 10 A Strange Sensation Strange Interlude attracted the attention of by Laura Henry everyone from George Bernard Shaw to the by Norman Allen Marx Brothers. It is a remarkable, intricate work 12 See All Sides of O’Neill with innovative form, and it displays O’Neill by Hannah J. Hessel at the height of his power as a dramatist and 13 Creative Conversations thinker. This issue of Asides examines the ways in which Strange Interlude continues to push the 14 Play in Process boundaries of text, concept and performance. 15 Strange Interlude Cast and Artistic Team STC keeps classical theatre alive by staging works of historical and intellectual stature, and Strange © The Al Hirschfeld Foundation.
    [Show full text]
  • Long Day's Journey Into Night
    Long Day’s Journey Into Night LONG DAY’S JOURNEY INTO NIGHT EUGENE O’NEILL CRITICAL EDITION Edited by William Davies King Foreword by Jessica Lange Foreword copyright © 2014 by Jessica Lange. Critical edition, including notes, chronology, essays, and bibliography, copyright © 2014 by William Davies King. Long Day’s Journey Into Night copyright © as an unpublished work 1955 by Carlotta Monterey O’Neill. Copyright © 1955 by Carlotta Monterey O’Neill. First published February 1956. Copyright © renewed 1984 by Yale University. Corrected edition copyright © 1989 by Yale University. All rights reserved. This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the US Copyright Law and except by reviewers for the public press), without written permission from the publishers. Yale University Press books may be purchased in quantity for educational, business, or promotional use. For information, please e-mail [email protected] (US office) or [email protected] (UK office). Frontispiece: Eugene O’Neill in 1939, at the time of writing Long Day’s Journey Into Night (Photo © Horace Bristol/Corbis. Louis Sheaffer–Eugene O’Neill Collection, Linda Lear Center for Special Collections & Archives, Connecticut College) Printed in the United States of America. Library of Congress Control Number: 2013956573 ISBN: 978-0-300-18641-3 (pbk.) 10 9 8 7 6 5 4 3 2 1 CAUTION: Professionals and amateurs are hereby warned that Long Day’s Journey Into Night, being fully protected under the copyright laws of the United States of America, the British Commonwealth, including Canada, and all other countries of the copyright union, is subject to royalties.
    [Show full text]
  • E.G.O the Passions of Eugene Gladstone O'neill
    E.G.O.: The Passions of Eugene Gladstone O’Neill A full-length play in two acts by Jo Morello Registered WGAW1068640 by Jo Morello 6620 Grand Point Avenue University Park, FL 34201-2125 Phone: 941-351-9688 FAX: 941-306-5042 [email protected] or [email protected] E.G.O.: The Passions of Eugene Gladstone O’Neill, 11/12/2009 ii I- E. G. O.: The Passions of Eugene Gladstone O’Neill A full-length play in two acts by Jo Morello 2M, 2F; some doubling Running time: approx. 55 minutes for each act. Unit set with suggested sets and costumes. Suggested music may be available from author on CD-ROM Synopsis Raised in the theatre as the son of matinee idol James O’Neill, Eugene O’Neill struggled to measure up to and ultimately surpass his father. At 29, he had a wife and son behind him and a life of playwriting ahead— complicated by struggles with alcohol, disease and “the things life has done”—when he met widowed fiction writer Agnes Boulton, 24. Upon his insistence that they must share “an aloneness broken by nothing,” she left her daughter with her parents to marry him—but that aloneness was broken when they had two children of their own, Shane and Oona (the future Mrs. Charlie Chaplin). While married to Agnes, O’Neill won two Pulitzer Prizes (Beyond the Horizon, Anna Christie) and wrote Strange Interlude, which would bring a third Pulitzer. (His fourth Pulitzer, for Long Day’s Journey Into Night, was awarded posthumously.) O’Neill began his own “Interlude” in 1927 with beautiful, domineering, second-rate actress Carlotta Monterey while sending Agnes passionate proclamations of love.
    [Show full text]
  • Eugene O'neill - Poems
    Classic Poetry Series Eugene O'Neill - poems - Publication Date: 2012 Publisher: Poemhunter.com - The World's Poetry Archive Eugene O'Neill(16 October 1888 – 27 November 1953) Eugene Gladstone O'Neill was an American playwright and Nobel laureate in Literature. <b> Early Life</b> O'Neill was born in a Broadway hotel room in New York City on October 16, 1888. O'Neill's father, James O'Neill, was one of Nineteenth Century America's most popular actors. Due to his father's profession, O'Neill was sent to a Catholic boarding school where he found his only solace in books. O'Neill spent his summers in New London, Connecticut. In 1906 he entered Princeton but was soon nts vary as to why he left. He may have been dropped for attending too few classes, been suspended for "conduct code violations", or "for breaking a window," or according to a more concrete but possibly apocryphal account, because he threw "a beer bottle into the window of Professor Woodrow Wilson," future president of the United States) He spent several years at sea, during which he suffered from depression and alcoholism. O'Neill's parents and elder brother Jamie (who drank himself to death at the age of 45) died within three years of one another, not long after he had begun to make his mark in the theater. Despite his depression he had a deep love for the sea, and it became a prominent theme in many of his plays, several of which are set onboard ships like the ones that he worked on.
    [Show full text]
  • MOON-Audience-Guide.Pdf
    Jewel Theatre Audience Guide directed by Joy Carlin by Susan Myer Silton, Dramaturge © 2019 ABOUT THE PLAY A Moon For the Misbegotten is a joyous tribute to the regenerative power of love, a drama conceived and created in deep affection. —Virginia Floyd, The Plays of Eugene O’Neill: A New Assessment CHARACTERS (IN ORDER OF APPEARANCE) Josie Hogan (Diana Torres Koss): the Irish-American daughter of Phil Hogan and sister of Mike Hogan. Her other two brothers are Thomas and John, who are offstage characters in the play. Mike Hogan (Shaun Carroll): Josie Hogan’s youngest brother and third son of Phil Hogan. Phil Hogan (Howard Swain): father of Josie Hogan and Mike Hogan, Phil is an Irishman and tenant farmer, raising pigs on James Tyrone, Jr.’s land. James (Jim) Tyrone, Jr. (Rolf Saxon): the landlord of the property where Phil Hogan has his pig farm, Jim is an actor and gambler. He is the son of James Tyrone and Mary Cavan Tyrone and the brother of Edmund Tyrone. All four are characters in A Long Day's Journey Into Night. He is ten years older in A Moon for the Misbegotten. T. Stedman Harder (Jerry Lloyd): an heir to Standard Oil money and neighbor of Phil and Josie, his beachfront property abuts the Hogan farm. Please see separate biographies of each character as addendums to the Guide 1 Dialogue and a central scenic image are focal in A Moon for the Misbegotten, a sequel to Long Day’s Journey Into Night. ~Timo Tiusanen, O’Neill’s Scenic Images SETTING AND TIME According to the playwright’s stage directions, “The play takes place in Connecticut at the home of tenant farmer, Phil Hogan, between the hours of noon on a day in early September 1923, and sunrise of the following day”.
    [Show full text]