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ENTERTAINMENT
January 10, 1988 | DAN SULLIVAN
One sure prediction for 1988: We will be hearing a lot about Eugene O'Neill. It is his centennial year, and here are a few of the ways it will be observed: Jan. 18-20--Glenda Jackson stars in a three-part version of "Strange Interlude" for "American Playhouse" on PBS. March 22-May 21--Colleen Dewhurst and Jason Robards offer two O'Neill plays in repertory at Yale--"Ah, Wilderness" and "Long Day's Journey Into Night."
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ENTERTAINMENT
March 20, 2014 | By Philip Brandes
Eugene O'Neill's last full-length play, “A Moon for the Misbegotten,” has always suffered somewhat from “The Godfather III” syndrome, eclipsed by the other two late-career masterpieces that rescued O'Neill's fading reputation and cemented his place among the greatest American playwrights. “Moon” may lack the epic scope of “The Iceman Cometh” or the unsparing autobiographical deconstruction of “Long Day's Journey Into Night,” but its more intimately focused bittersweet romantic heart still captivates.
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ENTERTAINMENT
October 16, 1988
Dear Gene: Pardon the familiarity, but have just finished reading your letters , and feel I know you. Today would have been your 100th birthday. Irving Berlin didn't take much pleasure in his 100th birthday party at Carnegie Hall a few months ago. It's just as well that you kicked off off when you did, in '53, with your best work not that far behind you. You certainly left a great exit line. "I knew it, I knew it! Born in a goddamn hotel room and dying in a hotel room!"
ENTERTAINMENT
February 23, 2013 | By Charles McNulty, Los Angeles Times Theater Critic
Two of New York's most prominent experimental troupes, the Wooster Group and Richard Maxwell's New York City Players, have joined forces to tackle a trio of early one-act dramas written by Eugene O'Neill about seafaring men and that vast expanse of briny rootlessness that is their existential home. There are, in short, three contrasting sensibilities at work in this production of "Early Plays," which opened Thursday at REDCAT, where it runs through Sunday. But they are united in their desire to cleanse the palate of theatergoers accustomed to a menu of stale and flavorless familiarity.
ENTERTAINMENT
October 6, 1992 | RICK VANDERKNYFF, SPECIAL TO THE TIMES
Salome Jens and Mitchell Ryan were having a bit of a laugh trying to fit "Long Day's Journey Into Night," set in 1912, into the election year "family values" debate. "It's like a joke," Ryan said. "They say, 'Well, what happened to the good old American family?' It didn't do anything. It just went right along, like a Honda."
ENTERTAINMENT
February 23, 2013 | By Charles McNulty, Los Angeles Times Theater Critic
Two of New York's most prominent experimental troupes, the Wooster Group and Richard Maxwell's New York City Players, have joined forces to tackle a trio of early one-act dramas written by Eugene O'Neill about seafaring men and that vast expanse of briny rootlessness that is their existential home. There are, in short, three contrasting sensibilities at work in this production of "Early Plays," which opened Thursday at REDCAT, where it runs through Sunday. But they are united in their desire to cleanse the palate of theatergoers accustomed to a menu of stale and flavorless familiarity.
ENTERTAINMENT
May 21, 1989 | MARK CHALON SMITH
"The Glass Menagerie" by Tennesee Williams, Woodstock Summer Theater, New York, 1949 (Quintero's first stage work). "Dark of the Moon" by Howard Richardson and William Berney, Circle in the Square, New York City, 1950. "Summer and Smoke" by Tennessee Williams, Circle in the Square, 1952. "The Iceman Cometh" by Eugene O'Neill, Circle in the Square, 1956. "Long Day's Journey Into Night" by Eugene O'Neill, original Broadway production, 1956. "The Quare Fellow" by Brendan Behan, Circle in the Square, 1958.
ENTERTAINMENT
December 13, 1992
Your otherwise fine interview with Jack Nicholson last Sunday contained an interviewer's error that surprisingly not even Nicholson caught: to wit, that until "Hoffa," Nicholson had never played a real-life person. Untrue. Nicholson portrayed playwright Eugene O'Neill in "Reds" in 1981. And one might even mount a case for his thinly disguised portrait of journalist Carl Bernstein in "Heartburn." I won't, but one might. JIM BEAVER Van Nuys
NEWS
July 10, 1989
The Danville house where Eugene O'Neill wrote some of his best-known plays has been closed by the National Park Service because of a dispute over an access road. People living near Tao House, where O'Neill lived from 1937 to 1944, have threatened to block the road because of the constant stream of visitors. Park officials say that as many as 40 people a day visit the house where O'Neill lived when he wrote "The Iceman Cometh," "Long Day's Journey Into Night" and "Moon for the Misbegotten."
NEWS
February 18, 1985 | JACK SMITH
I have been troubled by an Associated Press story out of Orange Park, Fla., reporting what seems to me an incredible coincidence. I wasn't going to take note of it here, but several clippings of it have been sent to me, from various newspapers, and I feel obliged to comment. The story said that Jim Mattson, an English teacher at Orange Park High School, had been collecting his students' malapropisms over a period of four years--both at Orange Park and during his previous assignment in Exeter, N.H., and it gave some examples.
ENTERTAINMENT
February 26, 2010 | By Susan King
William Hurt was virtually unrecognizable on the recent Golden Globes telecast when the cameras panned to the "Damages" nominee. The 59-year-old actor was sporting a beard of such massively bushy dimensions, he looked as if he had walked off a Smith Brothers' cough drop box. Hurt laughs when the beard is mentioned. "I had just finished 'Moby Dick,' " he explains over a cup of tea in the cozy office of his Beverly Hills publicist. "It's a two-parter for TV we made in Malta and Nova Scotia.
ENTERTAINMENT
August 14, 2009 | F. Kathleen Foley; David C. Nichols;
Roger Bean, writer-director of the long-running musical "The Marvelous Wonderettes," now playing off-Broadway, is back in town with his newest entertainment, "Life Could Be a Dream," at the Hudson Mainstage. If you're in the mood for Eugene O'Neill, give this show a pass. However, if you want unapologetically escapist entertainment, superbly rendered in every particular, this is your ticket. "Dream" is so frothy it floats. Like "Wonderettes," "Dream" features a small cast of lovable characters who group together under a flimsy but serviceable pretext to bop their hearts out and sing vintage rock 'n' roll standards in heavenly harmony.
ENTERTAINMENT
July 30, 2006
YOUR piece describes a small but still troubling step in the decline of Western Civilization ["A Steady Diet of Plot Luck," July 23]. Untold theater companies around the country, including a number locally, are falling over themselves to mount productions of what amounts to Suzan-Lori Parks' daily musings, simply because she has stature. She is a MacArthur "genius" and a Pulitzer winner for the incoherent, pointless exercise that is "Top Dog/Underdog." She puts on paper anything that comes into her mind.
ENTERTAINMENT
March 25, 2006 | Charles McNulty, Times Staff Writer
NO writer more than Eugene O'Neill exemplifies Yeats' notion of the artist forced to choose "perfection of the life, or of the work." After a suicide attempt at 23, the man who would eventually be considered the founding father of American drama resolved to turn himself into a playwright.
CALIFORNIA | LOCAL
September 28, 2003 | From Times Wire Reports
Eugene O'Neill spent some of his most productive writing years on a ranch in this San Francisco Bay Area suburb -- but you'd never know because the town has no monument to him. Now, local boosters of O'Neill, who died in 1953, want the city to recognize the connection with a plaque, a statue or newly named street. They say one donor has promised $20,000 for a tribute O'Neill, considered by many to be America's greatest playwright, lived and worked in Danville from 1937 to 1944.
NEWS
January 10, 2002 | F. KATHLEEN FOLEY, SPECIAL TO THE TIMES
Before he segued into the studied expressionism of his middle career, Nobel Prize winner Eugene O'Neill revolutionized the American stage with gritty dramas about life on the margins--a far cry from the polite chamber comedies and melodramas that were then standard theatrical fare. It's easy to see why "Anna Christie," for which O'Neill won a Pulitzer in the early '20s, must have been such a shocker in its day.
ENTERTAINMENT
June 17, 1989 | ROBERT KOEHLER
It's disconcerting to realize that Eugene O'Neill wrote his dreadful "A Touch of the Poet" after "Long Day's Journey Into Night." Like watching a former ace hurler refusing to retire and giving up countless home run balls, seeing "Poet" is to see O'Neill's genius in complete rigor mortis. Gaycq Manifold's Celtic Arts Center production transcends physical laws by making this truly dead play, about an arrogant, pipe-dreaming innkeeper and his headstrong daughter, a little more dead.
ENTERTAINMENT
September 14, 1986
Thanks for printing Barbara Isenberg's illuminating article on the dubious playwriting "process" at the UCLA-Mark Taper Forum new-play workshop ("Theater-by-Committee: Everyone's an Author," Sept. 7). It is hard to know who to blame: the Mark Taper and UCLA for fostering this travesty of producing; director Mark Medoff for encouraging it; and last, but not least, the spineless playwright (Clifton Campbell) who was actually willing to put up with it. Hasn't this poor soul ever heard of the uncompromising positions taken by playwrights such as Bernard Shaw, Eugene O'Neill and even Herb Gardner: no changing of texts ?
MAGAZINE
January 6, 2002
In "How the Prize Changed Their Lives" (by Jeff Gottlieb, Dec. 2), Ernest Hemingway's famous words are quoted: "No son of a bitch that ever won the Nobel Prize ever wrote anything worth reading afterward." The most notable exception to Hemingway's rule, however, is Eugene O'Neill. No fewer than five of O'Neill's greatest plays--"The Iceman Cometh," "A Moon for the Misbegotten," "Hughie," "A Touch of the Poet" and his masterpiece, "Long Day's Journey Into Night"--were written after he had won the Nobel Prize.
CALIFORNIA | LOCAL
January 31, 2000 | T.H. McCULLOH, SPECIAL TO THE TIMES
Nobel Prize-winner Eugene O'Neill's autobiographical drama "Long Day's Journey Into Night," now at Alternative Repertory Theatre, is his most deeply felt look into the dark family he knew as a boy, with a father who was a famous actor and an alcoholic, and a beleaguered drug-addicted mother. His cloddish older brother was no joy either. It's an entirely different view of his youth than his earlier "Ah, Wilderness," which was about the family life he would have liked to have lived.
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