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‘Long Day’s Journey Into Night’ Review: Patricia Clarkson Illuminates an Uneven West End Production
Patricia Clarkson gives a luminous performance in 'Long Day's Journey Into Night,' an otherwise uneven revival of Eugene O'Neill's family drama.
The play, theater’s most potent study of denial, is harnessed by the dominant role of the overbearing father, James Tyrone, whose presence within the wretched, wrecked household requires him to loom large even when offstage. Daryl McCormack has a fine, dismissive swagger as self-loathing James Jr., but the longer the play goes on — and in O’Neill’s overly insistent writing, it certainly is long — his lack of convincing connection to his sickly brother grows increasingly problematic. In a play that goes to some length to point out the intrusive sound of fog horns, it seems antithetical to have so noticeable an additional soundscape that loudly alerts the audience to approaching doom, or to the ethereal quality of Mary’s blissed-out-on-morphine state.
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