Eugene O'Neill (1888–1953)

The Tyrones - mother, father, and two sons - spend a day more or less together in the country. Within the course of that day, we see all sorts of nasty little secrets that were only suggested in the first act.

This is the first O'Neill play I have read, and I have to say that I found it excellent. Not much fun, but really well done. The theme, to me, was that of excuses, excuses. The entire family has someone - someone else, that is - to blame for being the way they are. Mary blames her show more husband, her dead son, Edmund, life in general, not having her own house, her circumstances. Tyrone senior blames his difficult childhood, his lost chances. Both sons blame their parents. But in the end, every character admits the truth of why they are the way they are.

Every character except Mary. Despite many chances to admit the truth - she is a drug addict - she denies to the very end. And it is the difference between the men in the play, with their ultimate honesty, and Mary's self-deception that makes me angry with her and feel empathy for the others.

There is a chance, a small one, but still a chance, that Edmund will get well, that Tyrone will stop drinking, that Jamie will branch out on his own. But Mary is stuck where she is, dreaming and lying through her life.

Like I said, this wasn't exactly a fun play, but it was extremely realistic. Very well done and highly recommended. show less

O'Neill's brilliance and his place as America's foremost playwright locks into place, if it hadn't already, with this third volume of plays from the last decade of his writing life. Three of the plays presented here (The Iceman Cometh, Long Day's Journey Into Night, and A Moon for the Misbegotten) are utter masterpieces, works of art so powerful that they rank among the great accomplishments in English letters. Two other plays (Ah, Wilderness! and A Touch of the Poet) are great plays. A show more third (More Stately Mansions) is the one great failure of O'Neill's career, I believe, an endless epic back-and-forth set of soulful arguments that could have been (and sometimes was) better played in an infinitely shorter play. But it's my belief that no American playwright has ever come within miles of capturing O'Neill's ability to see the pain at the heart of human beings and to encapsulate so perfectly the pity which the lost heart yearns for and requires. show less

A collection of plays from the last period of his writing career. These plays are very personal, many of them dealing with his own childhood. Several of them were published posthumously, and one of them, More Stately Mansions, he left instructions to destroy the manuscript. This should have been done. That play pulls down the entire body of work, and I was quite surprised to find it had ever been performed on stage. At over 300 pages, it is a novel, not a play. The other truly weak work in show more the group is Days Without End. It starts out incredibly strong, with an interesting premise, but devolves into a church basement play at the end; O'Neill was at his weakest when he was writing religious plays. Overall, a decent collection, including some of his most famous plays. Long Days Journey into Night and The Iceman Cometh would be enough in themselves to make it worth the time. show less

This sad saga chronicles a group of drunks who meet up at a local saloon. They are full of big dreams for the future, but anyone who knows them knows that they are all talk and no action. Each man has glossed over the story of his life in his own mind, leaving out the bad bits and chalk any failures up to someone else’s fault or a tragedy that befell him.

The patrons look up to a salesman named Hickman ("Hickey") who stops in when he can. During the first half of the play everyone gathers show more at the saloon for a birthday party and just waits for Hickey to arrive. When he finally gets there something is different about him and immediately everyone is concerned. He has lost his happy-go-lucky attitude. Hickey forces each of the individuals to reevaluate their lives and ask themselves whether they are truly trying to improve it.

The owner of the saloon, Harry Hope, watches the drama unfolds in his establishment. He is concerned by the direction in which Hickey’s “ideas” are steering everyone. In this world people embrace only the possibility of a better life, they never intend to take the steps that would actually lead to one, but it's that hope that keeps them going.

It’s hard to explain why this was such a powerful story to me. I think part of it is the context in which it was written. It was published in 1940, and written during the Great Depression, a time of disillusionment in America. It captures that feeling of hopelessness in such a palpable way. I could see each of the characters thinking about their “one day” plans and truly believing that those dreams were attainable.

BOTTOM LINE: This play paints a beautiful picture of the crumbling American dream. It asks the question, do people really want to reach their goals or is the fact that they have those dreams enough for them? There’s something to be said for having a distant hope, especially for those living such desperate lives. show less