Long Day’s Journey into Night

Company: Sydney Theatre Company & Artists Repertory Theatre
Venue: The Wharf, Sydney Theatre, Walsh Bay, Sydney
Dates: 3 July - 1 August 2010

Sydney Theatre Company, Artists Repertory Theatre, the Commonwealth Bank and director Andrew Upton present Eugene O’Neill’s lengthy drama, Long Day’s Journey into Night. Eugene O’Neill’s personal chronicle was written in 1942 but only staged in 1945 (three years after his death) at the Royal Dramatic Theatre in Stockholm. Winning numerous awards including the Pulitzer Prize for Drama and the Tony Award for Best Play (both 1957), it is no wonder that all Sydney theatre goers were abuzz before the night’s performance, including myself.

I must warn you however that being presented in a three and a half hour sitting with only a short 10 minute interval, this marathon performance is only intended for those who are willing to endure a drawn-out family saga infused with bitter, morbid honesty.

It seems that the only thing holding this family together is a visible string of lies as ungoverned amalgamations of untold truths collide with brutal force on, what is supposed to be a pleasant weekend at a holiday home for the Tyrone family. The autobiographical account by O’Neill, set in 1920s Connecticut abrasively portrays the knock on effect Mrs Tyrone has had on her family. Due to her self-absorbed nature and addiction to morphine, Mary Cavan Tyrone played by Robyn Nevin has managed to lead her husband and two sons into an alcoholic depression of confused hatred toward her. Turning a blind eye on his wife’s withering self has become a habitual trend for actor, James Tyrone (William Hurt) and their equally distant sons, Edmund (Luke Mullins) and Jamie (Todd Van Voris). As much as they endeavour to keep the demons at bay, family and audience members are in for a rude awakening as vivid memories of the past and circumstances beyond their control begin to haunt the entire household.

O’Neill’s exceptionally well written play has sadly not been teamed together with an exceptional cast or even a stimulating set. The ensemble work between the characters is lacking to say the least and if it weren’t for Nevin’s incomparable performance I’m afraid to say that this season of Long Day’s Journey into Night might have been a very short one. Nevin’s portrayal of Mary Tyrone is flawless. The level of discomfort and apprehension she was able to summon was persuasive and moving. Nevin’s character is a disheartened, fragile woman who has made a habit of feeling sorry for herself. She’s lonely, betrayed, depressed and hostile. Audience members looked on in pity as Mary Tyrone drifted onto the stage in a happily medicated lull, slurring words into repetitive sentences and constantly trying to tidy up one lonely cushion in a bid to distract her family from the reality of the situation.

It seems to me that Upton’s direction was useful only to Nevin as Hurt, Mullins and Van Voris were less than satisfying. Luckily Nevin’s stage presence, along with rousing dialogue and a humorous cameo from Irish maid Cathleen (Emily Russell) were able to sustain me until the end; though I cannot speak for the dozing heads around me.

A stimulating set design, or change would have helped to enliven the audience, however set designer Michael Scott Mitchell left audiences in the lurch with his extremely minimalist set that somewhat resembled an eerie art gallery. As expected sound designer Max Lyandvert provided a fitting soundscape of foghorns and droning winds. As these dismal sounds began to encroach, the audience members like the characters began to feel as though they were being trapped by more than just the dreary fog.

Brilliant dialogue along with a truly talented female performer is the strong point of this brutally candid play. The events that unfold on stage through well orchestrated wording are sure to be memorable, for some.

Haylie Pretorius