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Editor: Frederick Wilkins
Suffolk University, Boston

Vol. XII, No. 3
Winter, 1988


(IN THIS ISSUE)

NEWS AND COMMENT

1. "EUGENE O'NEILL AS CONTEMPORARY THEATRE" was the title of the international symposium organized by Yoshiteru Kurokawa and held at Hosei University in Tokyo on June 11-12, 1988. The following report is by Emiko Kuroda, who noted that the event, with 14 major speakers and an audience of over 200, was a great success.

The speakers were these: Tadashi Uchino (Okayama Univ., Japan), Wang Yequn (Shanghai International Studies Univ., China), Tetsuo Arakawa (Institute of Modern Theatre, Japan), Adele Heller (Provincetown Playhouse, USA), Toen Kitagawa (The Yorumi Newspaper, Japan), Tom Olsson (Royal Dramatic Theatre, Stockholm), Mitunobu Osada (Chuo Univ., Japan), Peter Egri (L. Eötvös Univ., Budapest), Yasuko Ikeuchi (Ritsumeikan Univ., Japan), Yoshiteru Kurokawa (Hosei Univ., Japan), Liu Haiping (Nanjing Univ., China), Jean Chothia (Cambridge Univ., England), Normand Berlin (Univ. of Massachusetts, USA), and Herbert Blau (Univ. of Wisconsin-Milwaukee, USA). The presentations were essentially of three kinds: technical, historic, and thematic.

Both Uchino and Chothia represented the technical category. Uchino analyzed O'Neill's three pageant plays, The Fountain, Marco Millions and Lazarus Laughed, focusing on theatrical space and scenography. Chothia stressed theatrical language, illustrating her remarks with slides of Peter Stein's recent production of The Hairy Ape.

Five speakers offered historical studies. Arakawa described his experiences in directing O'Neill plays in Japan. Kitagawa, who heads the drama section of a leading newspaper in Japan, surveyed the history of Japanese productions of O'Neill. Heller talked about the culture and legacy of the Provincetown Players. Olsson discussed the O'Neill tradition at the Royal Dramatic Theatre from 1923 to 1962. And Liu reported on O'Neill plays in the contemporary Chinese theatre.

The remaining speakers chose thematic approaches. Wang surveyed utopian motifs in The Hairy Ape, The Long Voyage Home, Beyond the Horizon and Mourning Becomes Electra. Osada analyzed O'Neill's mask plays, especially The Great God Brown, stressing the process of character individuation. Egri assessed the psychological relevance of O'Neill's works. Ikeuchi spoke on O'Neill's critical view of myth and reality. Kurokawa described the aspects of love in eternal discord in Mourning Becomes Electra. Berlin considered the Beckettian aspect in O'Neill's work, focusing on the element of "nothingness" expressed in The Iceman Cometh. And Blau applied the methods of deconstruction of Iceman, especially its use of pipe dreams. Both Iceman papers aroused lengthy and interesting discussions.

The first day featured readings and performances of scenes from Long Day's Journey, Anna Christie and Mourning Becomes Electra. The second afternoon comprised a panel discussion whose main topics were (1) nothingness in O'Neill, (2) the interpretation of dramatic texts, and (3) the acceptance of O'Neill's plays in contemporary China. Thanks to the speakers' insights and the eagerness of spectators to interact with them, O'Neill's name was indelibly impressed on the minds of all who were fortunate enough to attend.

2 THE CENTENNIAL IN NEW LONDON. After a centennial-eve grand ball at the Port and Starboard in Ocean Beach Park (featuring a fifteen-minute fireworks display and a 100-candle birthday cake), the O'Neill Centennial Committee, headed by Gerald P. Ceniglio, began the festivities on October 16 with a brunch at the New London Radisson, at which an ice reproduction of Norman Legassie's sculpture of the young O'Neill dripped ingratiatingly, and the winning entries in a local student writing contest were read to the assembled brunchers. At 12:15 p.m., the Governor's Foote Guarde led the guests to a grandstand at City Pier, where music was provided by the U.S. Coast Guard Band and the Yale Glee Club, whose selections included the world premičre of an "O'Neill Portrait" with music by Fenno Heath and lyrics spun from words of O'Neill by George C. White. Among those in attendance were Governor William O'Neill, New London Mayor Carmelina Como Kanzler, Mr. White, and Sunday Event Chairpeople Michael Lamperelli, Sally Pavetti and Lois McDonald. Also present were actors Fritz Weaver (a memorable Con Melody from the 19700 and Dina Merrill, who saved the musical day by conducting the glee club when they and the band got out of sync during group singing of "God Bless America." Sculptor Norman Legassie won the plaudits of the throng when Mr. White unveiled the statue that will be a permanent part of the New London Harbor. A memorable start for a stunning day that, for many, concluded many miles away, on Broadway.

3. THEATER COMMITTEE CAPS ITS DECADE WITH STIRRING TRIBUTE. On Sunday evening, October 16, the Theater Committee for Eugene O'Neill brought its decade of activities to a grand close with a "Centennial Tribute to Eugene O'Neill": scenes and songs from O'Neill's plays by stars of stage and screen, presented at the uptown Circle in the Square, whose Artistic Director, Theodore Mann, received the Committee's tenth and final O'Neill Birthday Medal for his major contributions, from 1956 to the present, to public awareness and appreciation of O'Neill and his work.

The two-part program, offering scenes from eleven plays, was stitched artfully together with passages from O'Neill's non-dramatic writings, read by Peter Gallagher (as the young O'Neill), Len Cariou (as the mature O'Neill) and Jason Robards (as the aging O'Neill). The plays and players were these:

Bound East for Cardiff: Gallagher as Yank is comforted by Cariou as Driscoll.

Beyond the Horizon: Raphael Sbarge as the dreamer Robert Mayo.

Anna Christie: Kate Burton as Anna meets the salty Marthy Owen of Geraldine Fitzgerald.

All God's Chillun Got Wings: Keith David and Kate Burton as Jim Harris and Ella Downey.

Desire Under the Elms: Philip Bosco as Ephraim confronts the latter's son Eben (Gallagher) and Abbie (Burton).

Strange Interlude: Mariette Hartley as Nina Leeds, with her "three men"--Cariou as Darrell, Gallagher as Evans, and Bosco as Marsden.

Mourning Becomes Electra: Hartley as Christine with Cariou as Adam.

Ah, Wilderness!: the moonlit tryst of Richard (Sbarge) and Muriel (Cynthia Nixon).

A Touch of the Poet: Bosco as Con Melody pours verbal abuse on his daughter (Burton).

Long Day's Journey Into Night: Jason Robards and Colleen Dewhurst as the elders; Cariou and Gallagher as the sons.

A Moon for the Misbegotten: Dewhurst in an incandescent moment from her greatest O'Neill role.

Songs sung by Becky Gelke, Mark Jackson and James Stovall to the accompaniment of piano (Glen Roven) and accordion (William Shimmel) added atmospheric interstices for an unforgettable evening and an incomparable tribute to our greatest playwright.

4. "INTERLUDES FROM O'NEILL" was the title of a centenary tribute devised and coordinated by Bob Roman and presented at the New School in New York City on the evening of October 10. In a fairly chronological arrangement, seven actors offered speeches by eight characters in seven of O'Neill's plays: Terry Donnelly as the wife in Before Breakfast; Paula Kenny as Anna Christie (her "revelation monologue"); Dermot McNamara as Paddy in The Hairy Ape and Ephraim Cabot in Desire Under the Elms; Ray Fitzgerald as Yank ("Hairy Ape") Smith (his reply to the aforementioned Paddy); Patricia Angelin as Nina Leeds in Strange Interlude; Stephen Joyce as Erie Smith in Hughie; and Geraldine Fitzgerald as Mary Tyrone in Long Day's Journey (her play-closing monologue).

5. "EUGENE O'NEILL: CELEBRATING 100 YEARS" was the title of a week-long birthday party (October 10-16) hosted by the Theatrical Outlet in Atlanta, Georgia, and organized by its new producing director, Ken Marsolais. Readings, films, workshops and talks by local scholars shared the bill with director Jose Quintero, who spoke on the 12th, and a performance of Long Day's Journey Into Night starring Frank Wittow and Mary Nell Santacroce on the 16th, that brought down the house--literally. Wrecking balls hovered outside, and the theatre has by now been levelled to make way for a shopping mall. O'Neill would have appreciated the bittersweet irony of that finale to the week's celebration in his honor.

6. "EXAMINING THE LEGACY OF EUGENE O'NEILL" was the title of a panel discussion at the Museum of the City of New York on the evening of October 21. Presented in cooperation with the Theatre Library Association, the discussion was moderated by George C. White, President of the Eugene O'Neill Theater Center. The speakers were actress Geraldine Fitzgerald; Margaret Loftus Ranald, author of The Eugene O'Neill Companion; and Sally Thomas Pavetti and Lois Erickson McDonald, Curator and Associate Curator of Monte Cristo Cottage.

7. CENTENNIAL SERIES AT TOWN HALL. Town Hall in New York City demonstrated its growing interest in extramusical events by hosting a four-part series commemorating the O'Neill centennial. The series, collectively titled "Remembering Eugene O'Neill," began on October 24 with a symposium on the playwright, moderated by Leonard Fleischer and featuring critic Robert Brustein, biographer Barbara Gelb, actress Geraldine Fitzgerald and playwright Terrence McNally. A film marathon followed on November 13--five screen adaptations of O'Neill plays, extending from noon to midnight. Readings of two plays completed the series: Desire Under the Elms with Louis Zorich and members of the Acting Company on November 21, and A Touch of the Poet starring Fionnula Flanagan and Fritz Weaver on November 28.

8. O'NEILL FETED IN UTAH. Brigham Young University in Provo, Utah, whose stalwart faculty O'Neillians are known to many readers--Jean Anne Waterstradt (English) and Charles L. Metten (Theatre)--presented an O'Neill Centennial Symposium on October 26-27. The guest keynote speaker, Michael Manheim of the University of Toledo, presented a paper entitled "Where Autobiography Stops and Drama Begins: Some Thoughts about Late Plays of Eugene O'Neill." Evenings were devoted to performances of three sea plays (Bound East for Cardiff, In the Zone and Ile) directed by Professor Metten, who also spoke, during the first morning's sessions, on "Eugene O'Neill and the Actor." His colleague, Robert A. Nelson, followed with a talk on "Strategies for Directing Ah, Wilderness!, O'Neill's Short-Lived Foray into Light." Other faculty papers were "Three O'Neill Women: An Emergent Pattern," by Professor Waterstradt; "Long Night Journeys in Long Day's Journey Into Night," by Marden J. Clark (English); "Archetypal Patterns in O'Neill's Autobiographical Plays," by David L. Evans (English); and "Expressionism in O'Neill's 'Uniquely Probing Vision,'" by Stanislawa Kumor (visiting professor of theatre from the University of Warsaw). And two sessions were devoted to presentations by students: one by area high school O'Neillians, the other by members of Professor Waterstradt's O'Neill seminar. Since their topics are intriguing and their names may appear herein again in future, here are the BYU titles and speakers:

"Expressionism: The Directorial Approach to The Hairy Ape" (Nathan J. Criman);

"The Structure of Salvation in The Emperor Jones and The Hairy Ape" (M. Arogyasami);

"The Search for Self: The Archetypal Journey in The Hairy Ape and The Iceman Cometh" (Jan O. LeBaron);

"Reflections of O'Neill's Views on Self-Aggrandizement" (Timothy J. Rowley);

"O'Neill's Houses of Doom" (JeNeale Hill Gunnell);

"Obsession with a Lost Kingdom: Mourning Becomes Electra" (Rebecca Wahlquist); and

"88 Percent: Quantum Failure in The Iceman Cometh" (Debra L. Thornton).

9. CENTENNIAL DOUBLE BILL-PLUS IN ST. LOUIS. Thanks to the entrepreneurial skills of Henry I. Schvey, Chairman of Washington University's Performing Arts Department, the O'Neill centennial got headline treatment in St. Louis. On Wednesday evening, November 9, the University's Bookmark Society hosted a panel discussion, "Trying to Like O'Neill," moderated by Professor Schvey and featuring comments by Jackson R. Bryer and John Henry Raleigh. The next three days comprised a celebration entitled "Eugene O'Neill: Autobiography and Art." The November 10 session, "O'Neill's Early Plays," included talks by Paul D. Voelker ("The Discovery of the Autobiographical Mode in O'Neill's Early Plays") and Virginia Floyd ("Eugene O'Neill: The Reality of Art--Mirror of the Mind"). The morning session on the 11th, "Perceptions of the Late Plays," featured remarks by Michael Hinden ("The Shriving of Jamie: Autobiography in Three Late Plays by O'Neill"), John Henry Raleigh ("A Dissenting View: Anti-Autobiographical Impulses in O'Neill's Later Plays") and Albert Wertheim ("O'Neill's Philosophy of American History in the 'Possessors Self-Dispossessed' Plays"). And that afternoon's session, "O'Neill as Correspondent," comprised talks by Jackson R. Bryer ("The Correspondence of Eugene O'Neill") and Dr. Harley Hammerman ("On Collecting O'Neill"), whose extensive O'Neill collection was on display (Nov. 3 - Dec. 30) in the Special Collections section of WU's Olin Library. [Dr. Hammerman, who conducted a guided tour of the collection on the morning of the 12th, produced a 24-page, illustrated exhibit catalog that is as handsome as it is informative. Aficionados interested in acquiring a copy might write to Holly Hall, Head of Special Collections, Washington University Libraries, St. Louis, MO 63130.] The "double bill" was actually quadruple, as there was also an O'Neill Film Series (Long Day's Journey, The Long Voyage Home, Mourning Becomes Electra and the Blanche Sweet Anna Christie) and a production of Desire Under the Elms, directed by WU Artist-in-Residence Ann Marie Costa, each evening. A surprise treat was the presence of Annie Chaplin, one of O'Neill's granddaughters, and a showing of Before Breakfast, a film by Italian director Mino Damato, in which she stars. Our congratulations to Professor Schvey, Dr. Hammerman and all concerned for showing that there is as much affection for O'Neill in America's heartland as in Europe and the Orient.

10. O'NEILL CONFERENCE IN BANGLADESH. That the O'Neill centennial celebration is truly global was made even more evident when word arrived of a conference on December 27-30 at the University of Dhaka in Bangladesh. The organizer for the event is Dr. Imtiaz H. Habib. We hope to report on the conference if an attender will send information.

11. SECOND NYC O'NEILL EXHIBIT. In addition to "American Lines," the exhibition of
O'Neill manuscripts at the Museum of the City of New York that was mentioned in the last issue (p. 87), there was another exhibit, in the New York Public Library's Billy Rose Theater Collection at Lincoln Center. Entitled "The Public and Private O'Neill," the exhibit closed on November 31. (Note that the first-mentioned exhibit continues until 1/8/89.)

12. FLOYD ADDRESSES AMERICAN CONFERENCE ON IRISH STUDIES. Dr. Virginia Floyd was a speaker at the Fall 1988 Conference of the ACIS's New England Section, held at Salve Regina College in Newport, RI, on October 7-8. Her subject: "Eugene O'Neill: The Irish-Yankee Conflict in Five New England Autobiographical Plays."

13. O'NEILL AT ASTR '88. Saturday, November 12, was, in a small way, O'Neill Day at the 1988 Annual Conference of the American Society for Theatre Research, held at The Ohio State University on November 10-13. He was the subject of a paper at a 1:30 session--"Long Day's Journey Into Night at Dramaten: Then and Now," by Lise-Lone Marker and Frederick Marker of the University of Toronto. And that evening the OSU Department of Theatre presented Beyond the Horizon as a "special one-night performance to celebrate the O'Neill centenary."

14. O'NEILL AT NEMLA '89. "Heirs Apparent and Inapparent: O'Neill's Influence and Legacy" is the topic for the O'Neill session at the 1989 Convention of the Northeast Modern Language Association, to be held at the Radisson Hotel in Wilmington, Delaware, at the end of March. Steven F. Bloom of Emmanuel College will chair the March 31 session (1:00-2:30 p.m.), which will feature four papers:

"The Common Heritage of O'Neill and Miller: A Study in Non-Influence," by William J. Fisher, Rutgers University.

"O'Neill, Beckett and Durrenmatt: The Shared Genre," by Robert M. Como, Glenville (WV) State College.

"Back Across the Atlantic: O'Neill's Influence on Recent Irish Playwrights," by Steven Putzel, Pennsylvania State University.

"Ghost-play and Moon-shadow: O'Neill's Legacy to David Mamet and Sam Shepard," by Suzanne Burr, University of Michigan.

Bette Mandl of Suffolk University will serve as session secretary, and will chair the 1990 edition of this venerable series.

15. RECENT AND FORTHCOMING PRODUCTIONS.

Beyond the Horizon. Independence Theater Co., Fort Lee Historic Park, Fort Lee, NJ, July 29 - August 14, 1988.

The Hairy Ape, dir. Anthony DiPietro. William Redfield Theater, New York City, October 7-22, 1988.

Long Day's Journey Into Night. Cincinnati (OH) Playhouse, October 27 - November 13, 1988.

Long Day's Journey Into Night. Syracuse (NY) Stage, November 18 - December 4, 1988.

A Moon for the Misbegotten. Nutmeg Theater, Univ. of Connecticut at Storrs, November 8-13, 1988.

The Sea Plays [Glencairn quartet], dir. Edward Berkeley. Willow Cabin Theatre Co. at the Intar II Theatre, New York City, November 3-20, 1988. (To be reviewed in the next issue.)

16. NEW OPERATIC ADAPTATION. Desire Under the Elms, billed as "an American Folk Opera," will have its world premičre on Wednesday, January 11, at the City Center in New York City, with additional performances on the following Friday and Sunday (at 8 and 3 p.m. respectively). The opera has music by Edward Thomas and libretto by Joe Masteroff, and the star is Judy Kaye, recently of The Phantom of the Opera, "in her New York operatic debut." Presented by the New York Opera Repertory Theatre, the production will be directed by David Gately, with scenery by Michael Anania, costumes by Gregg Barnes, and lighting by Kirk Bookman. Leigh Gibbs Gore will conduct the New York Opera Repertory Theatre Orchestra. For information, call (212) 947-5850.

17. RECENT AND FORTHCOMING PUBLICATIONS.

Black, Stephen A. "America's First Tragedy" [Beyond the Horizon]. English Studies in Canada, 13 (1987), 195-203.

Brooks, Marshall. "Remembering Eugene O'Neill's Days in Boston." "Calendar," The Boston Globe (October 13, 1988), pp. 12-13. (A walking tour of Boston and Cambridge sites frequented by O'Neill, including Forest Hills Cemetery, his final resting place.)

Burr, Suzanne. "Ghosts in Modern Drama: Ibsen, Strindberg, O'Neill and Their Legacy." Dissertation Abstracts International, 47:10 (April 1987), 1453A.

Cooley, John. "In Search of the Primitive: Black Portraits by Eugene O'Neill and Other Village Bohemians." In The Harlem Renaissance Re-Examined, ed. Victor A. Kramer. New York: AMS Press, 1987, pp. 51-64.

Deng, Shihuan. "On O'Neill's Mourning Becomes Electra (Tragic Trilogy)." Foreign Lit. Studies (China), 36 (June 1987), 85-90. (In Chinese. On rhetorical devices, treatment of characters, & relationship to psychoanalysis.)

Egri, Peter. "The Aftermath of World War I and the Fictionalization of Drama: Eugene O'Neill's Strange Interlude." Acta Litteraria Academiae Scientiarum Hungaricae, 29 (1987), 75-96.

Egri, Peter. "Synge and O'Neill: Inspiration and Influence." In Literary Interrelations: Ireland, England and the World, ed. Wolfgang Zach & Heinz Kosok (3 vols.), Tubingen: Narr, 1987, II, 261-268.

"Eugene O'Neill: A Centennial Celebration." Special section of The Day (New London, CT), October 11, 1988, 16 pp. [As a tribute to the playwright and the unveiling of a statue in his honor at New London's City Pier on centennial Sunday, October 16, the Day's special O'Neill edition featured articles by Louis Sheaffer ("Family and Home Provided Details for Masterpieces"), and Michael Burlingame ("New London Sites Found in Many of O'Neill's Plays" and "O'Neill's Reputation in Drama Is Secure"), plus reportage by Paul Baumann and David Collins about Monte Cristo Cottage, the new statue by Norman Legassie, and older New Londoners who remember O'Neill's days there.]

The Eugene O'Neill Songbook, collected and annotated by Travis Bogard. Ann Arbor, MI: UMI Research Press, 1989. Approx. 250 pp. $44.95 cloth. ISBN 8357-1937-5. (An eagerly awaited volume, out early in 1989. Here is UMIRP's advance description: "More than any other twentieth-century dramatist who did not write for the musical theater, Eugene O'Neill used songs in his plays, making music integral to the dramatic action. This is the first collection of piano-vocal scores representing every song contained in all O'Neill plays that use music. Travis Bogard has meticulously researched the music presented here. Songs are grouped around the individual plays in which they were incorporated, and each group is preceded by an introduction that forms the scholarly and critical basis for this anthology of folk and popular music. Of great interest to actors, directors, stage managers, and scholars. Specially designed to make [it] easy to use for stage productions." A review will appear in a future issue.)

Gelb, Barbara. "Theater for Readers" [review of O'Neill's Complete Plays]. New York Times Book Review (November 6, 1988), p. 13. (Praise for the Library of America volumes' completeness, their chronological order, and the "meticulous chronology and informative notes" provided by editor Travis Bogard.)

Gold, Sylviane. "Eugene O'Neill Lived Here." The Boston Globe Magazine (October 16, 1988), pp. 22-23, 57-63. [Comprehensive if conventional survey of O'Neill's time in New England, especially the early years (New London, the sea, Baker's class, Provincetown), with only passing mention of the last days in Marblehead and Boston.]

Goodwin, Donald W., M.D. Alcohol and the Writer. Andrews & McMeel, 1988, 210pp. $16.95, cloth. (Includes coverage of O'Neill. To be reviewed in a future issue.)

Liao, Kedui. "On O'Neill's Marco Millions." Foreign Lit. Studies (China), 38 (Dec. 1987), 40-45, 102. (In Chinese.)

Lloyd, D. W. "Mystical Experience in Long Day's Journey Into Night." Unisa English Studies: Journal of the Department of English, 24 (Sept. 1986), 17-21. (Edmund, Jamie, mysticism, nihilism, and sources in Nietzsche.)

Maufort, Marc. "Visions of the American Experience: The O'Neill-Melville Connection." Dissertation Abstracts International, 47:10 (April 1987), 3758A.

McCracken, David. "O'Neill's Haunted House." Chicago Tribune (Sunday, October 16, 1988), pp. 10-11, 31. [The history, renovation, and psycholiterary resonances of "dove-gray" Monte Cristo Cottage, where "the playwright's life and art were forged." Associate Curator Lois McDonald conducts a tour on a sunny day ("an Ah, Wilderness! day," as she calls it), and offers the rationales for assigning various second-story rooms to specific Tyrone/O'Neills.]

McDonough, Edward J. Quintero Directs O'Neill. Ann Arbor, MI: UMI Research Press, 1989 (available in the Spring). Approx. 230 pp. $44.95 cloth. ISBN 8357-1946-4. (UMIRP's advance description: "Reconstructs all twelve of director Jose Quintero's productions of ... O'Neill. McDonough focuses specifically on the process of putting O'Neill's plays on the stage. He traces and discusses production concepts, auditions, casting, scenic designs, rehearsals and performances. McDonough begins by reconstructing each play in its original production when O'Neill was present, and then compares [it] with the Quintero production a generation later. Pictures, reviews and biographies form the basis of these reconstructions, [along with] interviews with designers, stage managers and actors--among them some of the most famous of the post-war period, including Jason Robards, Colleen Dewhurst and Geraldine Fitzgerald." A review will appear in a future issue.)

Miller, Arthur. "A Fabulous Appetite for Greatness" [review of Selected Letters of Eugene O'Neill]. New York Times Book Review (November 6, 1988), pp. 12-13. (Because the letters "demystify him," the collection is "essential to any understanding of Eugene O'Neill" and his "noble quest." The "sustained intensity of his feelings ... brings him close." Neither unsophisticated nor a total loner, O'Neill was, according to this lucid if passionless appraisal by a successor, "the anarchist radical to the end."

Miller, Ronald R. "Eugene O'Neill's Vision of American History: A Study of the Cycle Plays." Dissertation Abstracts International, 47:9 (March 1987), 3245A.

O'Neill Eugene. The Collected Plays. London, Jonathan Cape, 1988. 1,240 pp. ISBN 0-224-02535-X. Ł40 cloth.

O'Neill, Eugene. More Stately Mansions: The Unexpurgated Edition, ed. Martha Bower. New York & Oxford: Oxford University Press, 1988. viii + 313 pp. ISBN 0-19-505364-8. $24.95 cloth. (A review will appear in a future issue.)

Porter, Laurin. The Banished Prince: Time, Memory, and Ritual in the Late Plays of Eugene O'Neill. Ann Arbor, MI: UMI Research Press, 1988. 140 pp. $39.95 cloth. ISBN 8357-1934-0. (Just out, the volume will be reviewed in a future issue. Here, in the interim, is UMIRP's advance description: "Porter reveals the inner unity of two cycles of plays written at the culmination of O'Neill's career--the highly autobiographical series which includes The Iceman Cometh, Long Day's Journey Into Night and A Moon for the Misbegotten, and O'Neill's cycle of historical works including A Touch of the Poet and the unfinished More Stately Mansions and The Calms of Capricorn. Porter argues that these cycles can be regarded as a single network of interlocking themes and concerns which come to closure in O'Neill's last play, A Moon for the Misbegotten. The focus of the cycles, she suggests, is the relationship between time and ritual. Porter asserts that time is dramatized in two ways: linear time, leading to death; and cyclic time, or memory. O'Neill's characters, she argues, seek refuge from time's burdens by embracing ritual, usually confession, in the hope of transcending the worlds which close in on them. Porter also reveals strikingly parallel cyclic structures in the late works, identifying a 'return to origins' prompted by the characters' desire to escape to the past. Of special interest to scholars is a chapter on Donald Gallup's edition of The Calms of Capricorn, developed from O'Neill's unpublished scenario. Released in 1981, this play has been largely unexplored by critics.")

Prasad, Hari Mohan. The Dramatic Art of Eugene O'Neill. New Delhi: Associated
Publishing House, distr. by Advent Books, NY, 1987. vi + 114 pp. $15.95 cloth.

Putzel, Steven D. "Whiskey, Blarney and Land: Eugene O'Neill's Conceptions and Misconceptions of the Irish." In Zach & Kosok (see 2nd Egri entry above), III, 125-132.

Shaugnnessy, Edward L. Eugene O'Neill in Ireland: The Critical Reception. Westport, CT: Greenwood Press, 1988. 248 pp. $35.95 cloth. (A review will follow. Here's the report in the Chronicle of Higher Education: "Describes how O'Neill's Irish'heritage influenced his work, and documents his critical reception in Ireland through reprints of writings by Irish critics, journalists and scholars; also includes an appendix on Irish productions of his plays from 1922 to 1987.")

Simon, Bennett, M.D. Tragic Drama and the Family: Psychoanalytic Studies from Aeschylus to Beckett. New Haven: Yale University Press, 1988. ISBN 0-300-04132-2. xiii + 274 pp. $30.00 cloth. (Chapter 6, pp. 177-211: "A Mistake My Being Born a Man: O'Neill's Long Day's Journey Into Night.") To be reviewed in a future issue.

Stanciu, Virgil. "O'Neill si renasterea tragediei." Steaua, 37 (Dec. 1986), 44. (Study of the book with that title by Petru Comarnescu.)

Stuart, Otis. "Backstage With the Tyrone Brothers." Theater Week (July 25-31, 1988), pp. 30-35. (An interview with Campbell Scott and Jamey Sheridan, the Edmund and Jamie Tyrone, respectively, in the 1988 Broadway production of Long Day's Journey.)

Vena, Gary. How to Read and Write About Drama. New York: Arco Publlshing Co., 1988. $6.95 paper. (This volume, by an eminent O'Neillian, will be reviewed in a future issue. Terry Helbing, noting its arrival in the October 10-16 issue of Theater Week, wrote: "Would that many a theater critic see this book and add it to his or her library.")

Wainscott, Ronald H. Staging O'Neill: The Experimental Years, 1920-1934. New Haven & London: Yale University Press, 1988. xviii + 337 pp. $40.00 cloth. ISBN 0-300-04152-7. (Recreation of the initial productions of 22 O'Neill plays between Beyond the Horizon and Days Without End, enhanced by 11 pp. of production photos. A review will appear in a future issue.)

White, Leslie. "Eugene O'Neill and the Federal Theatre Project." Dissertation Abstracts International, 47:8 (Feb. 1987), 2805A-2806A.

Whitlatch, Michael. "Eugene O'Neill and Class Consciousness in The Hairy Ape." Zeitschrift fur Anglistik and Amerikanistik, 35 (1987), 223-227.

Xia, Yinying. "Exploration of O'Neill's Philosophy of Life." Foreign Lit. Studies (China), 37 (Sept. 1987), 76-81. (In Chinese.)

18 SPECIAL O'NEILL ISSUE. As was announced in the Spring 1988 Newsletter, the November '88 issue of The Recorder, published by the American Irish Historical Society, is
devoted to O'Neill. Edited by Terence P. Moran and Lowell S. Swortzell of New York
University, the contents are divided into five parts:

O'Neill the Irishman


"Eugene O'Neill: Gift of a Celtic Legacy" (Virginia Floyd, USA)

"O'Neill: A Voice for Racial Justice" (Father Paschal Onunwa, Nigeria)

O'Neill the Dramatist

"Tragedy and Solipsism: The Kinship of Moby Dick and The Iceman Cometh" (Marc Maufort, Belgium)

"The Psychology of Alienation, or What Parodies Are Good For: A Note on O'Neill's Modernity" (Peter Egri, Hungary)

"High Anxiety: Women in The Iceman Cometh" (Ann C. Hall, USA)

"O'Neill's Tragedies: A Chinese View" (Zhao Yu, China)

"Anna Christie's Baptism" (Madellne Smith, USA)

O'Neill the Theatrical Genius

"O'Neill in London: A Touch of the Poet, 1988" (Jean Chothia, Great Britain)

"Desecrating an Idol: Long Day's Journey Into Night as Directed by Jose Quintero and Jonathan Miller" (Sheila Hickey Garvey, USA)

"Whose Play Is This, Anyway? Interpreting Mary and James Tyrone" (Doris Hart, USA)

"Feelings in O'Neill's Plays: An Actress Analyzes Abbie in Desire Under the Elms (Zhu Jinglan, China)

"Interpreting Marco Millions: Two New York Productions" (Brenda Murphy, USA)

"The O'Neill Tradition at Stockholm's Royal Dramatic Theatre" (Tom J. A. Olsson, Sweden)

"O'Neill in China: A Report on the Centenary Celebration" (Lowell S. Swortzell, USA)

"Ah, Wilderness! and Desire Under the Elms in Japan" (Yasuko Ikeuchi, Japan)

O'Neill the Classroom Subject

"O'Neill Double-Bills in Classroom Teaching" (Klára Szabó, Hungary)

"Another Look at The Hairy Ape (Vera Jiji, USA)

"Directing A Moon for the Misbegotten at Pace University" (Ruis Woertendyke, USA)

(IN THIS ISSUE)

 

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