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Season Info

Long Day's Journey into Night
By Eugene O'Neill


Kathryn Fuller and Burton Cooper


Director
Set by
Lighting by
Costumes by
Original Music by

Terrence Shank
J. Everett Templin
Terrence Shank
Carole Gilbert
Jeffrey Rockwell

CAST (in order of appearance):

Mary Tyrone
James Tyrone
James Tyrone, Jr.
Edmund Tyrone
Kathleen
Kathryn Fuller
Robert Ackerman
John Larroquette
Burton Cooper
Nancy McTiernan

ACT I

Scene 1: Living room of the Tyrone’s summer house.
8:30 A.M. of a day in August, 1912.
Scene 2: The same, around 12:45.
Scene 3: The same, about a half hour later.

ACT II

Scene 1: The same, around 6:30 that evening.
Scene 2: The same, around midnight.
 


Notes on the Play
by
Henry Hewes

Most people live in several planes of existence. There is the plane of impulse, in which we respond spontaneously and without reflection. There is the plane of society, in which we treat with, impress, and/or deceive other people. There is the plane of compromise, in which we tolerate the undesirable rather than risk a correction. There is the plane of contemplation, in which we search hopefully for the truth of what we are. And there is the plane of escape and dreams.
There is a breadth to Long Day’s Journey Into Night that may make it the most universal piece of stage realism ever turned out by an American playwright. For doesn’t it expose the forces that work both to unite and to tear asunder all human groups? What family does not have its private disgraces, its nasty recriminations, its unforgotten grievances? What family is not obliged to put up with some sort of unreasonable behavior from its breadwinner, some self-centeredness from its dominant figure? What brothers or sisters do not posses a pinch of jealously that pollutes their love of each other? What wife is not doomed to spend much time in the company of hired help or neighbors or associates that bore her? What family is not faced with some compulsive behavior which it must ignore, coddle, or excuse in order to avoid rupture? All these things O’Neill had put into this play, badly and directly. The terror it inspires comes not from the day’s events, but from the gradual intensification of its torment and violence as night moves in.
Long Days Journey Into Night is not so much a "play" as a continuously absorbing interpretation of Mary Tyrone’s line, "The past is the present, isn’t it? It’s the future, too. We all try to lie out of that but life won’t let us."
For Carlotta, on our 12th Wedding Anniversary
Dearest: I give you the original script of this play of
old sorrow, written in tears and blood. A sadly 
inappropriate gift, it would seem, for a day 
celebrating happiness. But you will understand.
I mean it as a tribute to your love and tenderness
which gave me the faith in love that enabled me to
face my dead at last and write this play — write it 
with deep pity and understanding and forgiveness for
all the four haunted Tyrones.

These twelve years, Beloved One, have been a
Journey into Light — into love. You know my gratitude.
And my love!
 

Gene
Tao House
July 22, 1941