LONG DAY'S JOURNEY INTO NIGHT at the Wyndhams Theatre - The Long Day Closes

LONG DAY'S JOURNEY is easy to admire, but harder to love.  My two previous experiences of seeing it on stage have given certain memorable moments but the play itself has remained a rambling, shapeless beast, over 3 hours long and full of repetitions and longueurs.  But Richard Eyre might have changed that perception...

I think I have seen the ten most famous plays by Eugene O'Neill - maybe I need to see DESIRE UNDER THE ELMS too - but all have been seen with a vague sense of duty attached; I have been conscious of seeing Great Plays in the Canon: ANNA CHRISTIE, THE EMPEROR JONES, THE HAIRY APE, STRANGE INTERLUDE, MOURNING BECOMES ELECTRA, AH WILDERNESS!, THE ICEMAN COMETH, A MOON FOR THE MISBEGOTTEN, A TOUCH OF THE POET... there would have to be some seriously great actors in revivals of these plays to get me to see them again.

Of all the O'Neill plays I have seen, as I said before, LONG DAY'S JOURNEY INTO NIGHT is the one I have returned to most often: I saw Jonathan Miller's 1986 Haymarket Theatre revival with Jack Lemmon, Bethel Leslie, Kevin Spacey and Peter Gallagher, then in 2000 I saw the late Robin Phillips' version with Charles Dance, Jessica Lange, Paul Rudd, Paul Nicholls - and an unknown actress called Olivia Colman as the Irish maid!  Now here I was... back for another long night in the Tyrone family home on the lonely Connecticut coast.

The monumental play is remarkable when you consider that O'Neill was already suffering the onset of the Parkinson's-related illness which would over the next ten years slowly rob him of the capability to write anything at all.  It's intriguing that the more he was being robbed of the ability to write he turned inwards to write plays where his own alcoholic struggles were reflected, and with JOURNEY, the corrosive feelings he had for his family.

1912: The Tyrone family are staying in their summer house on the Connecticut coast, haunted by the sound of fog horns through the night.  Although all looks well in the morning, by night time all their resentments and secrets will be aired and possibly be unrepairable.  James Tyrone once was an actor of promise but has for many years made a lot of money touring a star vehicle that has kept him in work but never fulfilled his dream of being a great tragedian.  Although he speculates in buying property, he is miserly with money for his family.

His wife Mary harbours a deep resentment for her husband's forcing them all to go on the road with him living out of cheap hotels.  She has never got over the death from measles of a son while touring, and resents her eldest son Jamie who she feels passed it on deliberately.  A difficult birth with her youngest son resulted in her being medicated with morphine, by the cheap doctor Tyrone paid for, to which she has since become addicted.  Their two sons are also caught in misery: Jamie is also an actor but struggles to find work as he is becoming an alcoholic while younger Edmund aspires to be a poet but is succumbing to crippling tuberculosis, again exacerbated by Tyrone's unwillingness to spend money on an expensive sanatorium.

Despite Mary's strenuous attempts to look bright and engaged with the family after being away curing her addiction, her sons slowly come to realize that she has returned to her morphine addiction which over the day becomes more and more evident.  Eventually, the family are lost in the blackness of the night and their existence, forced to watch as Mary appears, once again a morphine addict but remembering her days as a convent girl and her wish to become a nun but she "fell in love with James Tyrone and was so happy for a time."

Eugene O'Neill's father was also a touring actor, forever touring a stage version of THE COUNT OF MONTE CRISTO which earned him money but at a loss of any interest as an actor, his mother was raised in a convent and was addicted to morphine after the difficult birth of her third son, his eldest brother Jamie died from alcoholism and he himself spent time in a TB sanatorium.  Having exorcised his family demons when he finished the play in 1941, O'Neill sat on it until he gave it to his publishers in 1945, on the strict instruction that it not be performed until 25 years after his death.

He died in 1953 but his third wife Carlotta went against his wishes and allowed it to be performed only 3 years afterward in Sweden.  The play premiered on Broadway later that year with Fredric March in the lead role where it won the Tony Award for Best Play as well as for O'Neill a posthumous Pulitzer Prize, his fourth in all.  The first London production appeared in 1958 with Anthony Quayle as Tyrone.  And here we are 60 years later...

Richard Eyre has directed this production with a purity of vision that also was evident in GHOSTS, his last collaboration with Lesley Manville.  Although 3 hours 30 minutes it was only towards the end that one became aware of the time, the scene between the two sons having just a few repetitions too many.  Eyre has subtly brought out the fact that the Tyrones, despite everything, are still together and you do feel that the four members of the family do all love each other - the tragedy is that they all seem to give it the wrong way.

Eyre is reunited with his GHOSTS lighting designer Peter Mumford who draws us through the day to the darkening night and Rob Howell's wonderful set for the summer home puts us right in the centre of the Tyrone's world: the semi-transparent walls reflecting a house where there are no secrets held from others even if you are behind closed doors.

Light relief is provided by Jessica Regan as Cathleen, the local Irish girl employed as the Tyrone's maid; it's a bit of a hackneyed comedy Oirish role but Regan soon has you laughing with her than at her.  Matthew Beard and Rory Keenan were both very good as Edmund and Jamie, the damaged sons of the Tyrone's bad blood, both wishing to escape but unable to draw themselves away from the family quagmire.

Jeremy Irons was an interesting choice as Tyrone: not as obviously dominant as others who have played the role - David Suchet, Charles Dance, Jack Lemmon, Brian Dennehy, Jason Robards Jr, Gabriel Byrne, Laurence Olivier - but he played him with the distracted air of a man forced to engage with three family members who have all disappointed him.  Irons rose to the challenge of the scene where Tyrone explains to Edmund the joy he had as a young actor in being singled out for praise by the great Edwin Booth and his lilting, flowery speaking of Shakespeare conjured up a bygone day of performing.  He also was able to turn on the cutting, sniping anger of a man unused to having to give ground.  It's just a shame Irons' American accent was as drifting as the Connecticut fog outside.

The evening belonged to Lesley Manville as Mary Tyrone, she was quite magnificent.  Starting off girlishly happy and shy at her recent weight gain from her time in the sanitarium, she charted Mary's eventual decline during the day with a deadly accuracy: her skittish behaviour, her sudden flare-ups of resentful anger, her circling around the room edging ever-closer to the stairs that led to her secret supply of morphine, her coquettish dissembling "Is my hair coming down?" when meeting the stares of her all-too-aware family and finally her withdrawn stare as she looks out at her unhappy life while remembering the young girl who fell in love with a handsome actor.  She also conveyed effortlessly that Mary is not without guilt in the way her sons have been damaged emotionally by the Tyrone family life, so giving us a fully-rounded character.

The remarkable thing about O'Neill's writing is that by the end of the play you are so invested in them on a human level that you can only hope that life gives them all another chance, as slim as that seems in the dark night.

Love and Politics in the 1990s

I was thinking the other day that we seem to be in a very good season for excellent performances onstage at the moment - Michael Xavier, Joanna Riding (Pajama Game), Julian Ovenden, Geoffrey Streatfeild, Lewis Reeves, Matt Bardock, Richard Cant (My Night With Reg), Clive Wood, Eve Best, Phil Daniels (Antony & Cleopatra),  Helen McCrory (Medea), Billie Piper, Aaron Neil, Robert Glenister (Great Britain)... and now you can add two others to that list, Bill Nighy and Carey Mulligan in the revival of David Hare's SKYLIGHT at the Wyndhams Theatre.

I never saw the original production of the play which starred Michael Gambon and Lia Williams which did the usual hop, skip and jump of National Theatre - West End - Broadway.  After it's Broadway run it reopened in London with Bill Nighy in the Gambon role and he is revisiting the role again, 18 years later.

This production also has Carey Mulligan in her West End debut and she was the reason I wanted to see it as her performances in AN EDUCATION, NEVER LET ME GO, DRIVE and SHAME have been exceptional.  Luckily she did not disappoint, with both her and Nighy giving sparky, memorable performances.

Set in that ancient, long-gone time - the early 1990s - the action takes place in a small council flat in West London which Kyra is subletting from a friend.  Kyra is a teacher in a struggling school in East Ham and has a quiet, untroubled private life.

One wintry night, Kyra is surprised to receive a visit from Edward, the 18 year-old son of her ex-lover Tom, a wealthy restaurateur.  She learns that Edward's mother died from cancer a year ago and that father and son are struggling with each other's unspoken grief, sharing a house that is no longer a home.  Edward is also still angry that Kyra walked out of all their lives three years before with no word of explanation.  Edward, bristling with the sulkiness of youth, skulks off but who should appear later also unannounced?  Tom turns up, saying he just happens to have been in the area.  Just by chance he also has an unopened bottle of Whisky.

 

Prowling the small flat like a lion in a cage, straightening and unstraightening her school books, dragging a chair out with his foot only to push it back again, Tom obviously has come on a mission which slowly is revealed along with what really happened three years before.  Although their story starts six years before that...

That's when Kyra had landed a waitress job in Tom and his wife's Chelsea restaurant soon after arriving in London.  She proved indispensable to the couple and their children, eventually moving in to the family home. Needless to say, Kyra and Tom were soon lovers although she said she would leave if his wife ever found out.  When she did, Kyra left with no goodbyes.  Soon after Tom's wife was diagnosed with cancer and he did all he could to make her life comfortable in their home.  Finally he admits to Kyra that he is there to try and get her back but Kyra is a different person now and refuses to give up her new life, although she cannot help her old feelings surfacing.

What soon emerges in their barbed conversations - and out-and-out arguing - is that Tom, while railing at the political correctness and woolly liberalism that he sees all around him, can no more understand Kyra's wish to travel across London every day to deliberately work in a depressing job than she can for his ever-growing need for money and his selfish world view.

In their night of long knives, we see both sides of their argument - yes, Tom cared for his dying wife turning their home into her holistic paradise but was he doing it out of genuine love or guilt over the affair and yes, Kyra cares passionately for the sink-estate children she teaches but is her hair-shirt approach to life just a reaction against her upper-middle-class upbringing - is she a working class tourist?

Bill Nighy was on excellent form as Tom the misanthrope ex-lover, railing at a changing world while attempting to repeat the past with Kyra.  His comic timing was wonderful, gaining huge laughs at his withering responses to both life and Kyra's attempts at carving out a new career, as well as the physicality of his performance too, you could feel his revulsion having to handle the lump of cheese Kyra was intending to put in her ragu!  But underneath it all was a loneliness, an emptiness and his short-lived happiness at their resumption of intimacy was touching.

Carey Mulligan had a wonderful sense of gravitas as Kyra, firmly believing that she was making a difference to people's lives and ideologically stronger than either of her male visitors.  Her sly sense of humour was delightfully played and she also suggested the quiet gnawing loneliness of a young woman deliberately cutting herself off from love.  I do hope she makes the return to stage often, she is too good an actress to be lost to film.  She also proves she can multi-task by acting and cooking onstage at the same time!  And it was real cooking too... the smell of frying onions was delicious!!!

Matthew Beard was effective as the stroppy Edward - an archetypal teenage boy that his father likens to a character from INVASION OF THE BODY SNATCHERS - who surprises both Kyra and the audience in the final scene.

Stephen Daldrey directs with his customary insight and stages the ebb-and-flow conversations with variety and pace.  Bob Crowley's set design conjured up the drab flat perfectly, it's invisible inner walls seen against a life-like block of council flats with lights going on and off in the windows showing that, while Tom and Kyra are battling each other, life goes on elsewhere.

An excellent revival of a fascinating play, as relevant now as it was in 1995.