Review: Mad Cow's LONG DAY'S JOURNEY INTO NIGHT is an Uneven American Masterpiece

Eugene O'Neill's epic LONG DAY'S JOURNEY INTO NIGHT is undoubtedly one of the most venerated works of the American theatre. With a star-studded Broadway revival set to open in April, it is a show that is never far from the theatergoing public's consciousness. While that can be a blessing for theatre companies anxious to attract audiences based on the title's Tony and Pulitzer Prize winning resume, it can also mean that memories of previous incarnations can set the bar unattainably high.

Orlando's Mad Cow Theatre has assembled an impressive cast for their production running through April 17th, however, for nearly all of the show's four-hour running timing, the four incredibly talented actors seem to be performing four very different versions of the play. Irrespective of each other, they each have moments where they are moving, and even mesmerizing, but when placed together into the show's larger context, the disjointed perspectives become distracting. From mismatched accents to the production's ever-shifting tone, it's difficult to hone in on director Mark Edward Smith's specific voice for this masterpiece of family drama.

The play, a thinly-veiled autobiographical account of O'Neill's family, takes place at the summer home of the Tyrone family in 1912. Though the reasons are revealed slowly and incrementally over the play's four acts (the Mad Cow production has two intermissions), it is obvious from the beginning that there is a level of well-earned distrust between all members of the Tyrone family. The patriarch James (played by Kristian Truelsen) is a successful actor, who is sure that his two sons are making jokes at his expense. The eldest, James Jr. (Gregg Weiner), is the family's drunk, ne'er-do-well black sheep, while Edmund (Adam Reilly) is the sickly baby of the family. Though tensions are high between the three Tyrone men, they are all concerned for, and suspicious of, the matriarch Mary (the always masterful Peg O'Keef). Mary appears to be back to her old self after a recent illness, but her family knows all too well that looks can be deceiving.

In LONG DAY'S JOURNEY, O'Neill methodically untangles a web of guilt and blame that underlines the very authentic nature of the Tyrone family. At one moment they can be at each other's throats, and the next they can be providing unwavering support. The show's expert ensemble thrives as they are navigating the nuances of the play's labyrinth of history and emotions.

At the root of the family's complicated dysfunction is decades of addiction, abandonment, and accusations. What has resulted is a poisonous environment in which the same secrets, excuses, and hurt feelings are redundantly belabored over and over, as each member of the family is unable to move past what they have done, and what has been done to them.

In this family, everyone has been both victim and abuser at one point or another; chief amongst them is Peg O'Keef's Mary. The patriarchal society of the early 20th Century means that all of the men seem sympathetic to her struggles, but underneath harbor reservoirs of resentment. O'Keef, one of Central Florida's preeminent theatrical talents, wrings every drop of emotion out of her character's breath-taking and heart-breaking emotional journey. While the play as a whole never seems to coalesce, watching O'Keef conquer one of the American theatrical cannon's most challenging roles is special opportunity not to be missed.

Likewise, watching Weiner's take on the oldest son Jamie is the show's other highlight. While it is difficult to feel sympathy for any member of the Tyrone family, Weiner creates such a grounded and honest take on the character that it was easy to understand what drives him to do and say the things that he does.

Truelsen's James on the other hand, has the affected pretense of a man that has spent most of his life on the stage. It is this need to always appear in the right, whether he truly is or not, that makes his take on the character difficult to connect with; there is an air of falseness that envelops the performance. While perhaps that is by design, it is disorienting to never truly be able to tell what is truly felt and what is performance.

Though Edmund is the author's surrogate, he is not necessarily the audience's way into the story. Reilly plays the youngest Tyrone as cold and stilted, which makes his fits of anger and emotion seem out of character, despite how powerful they can be. Reilly has a number of moments, specifically with O'Keef, that are incredibly touching, if not surprising.

The delightful Julie Snyder adds just a dash of levity to the otherwise overwrought proceedings as the Tyrone family's Irish maid Cathleen.

A regular Mad Cow director, Smith had the Herculean task of directing this marathon work. While his remarkable cast likely would have benefited tremendously from another week in the rehearsal room, Smith deserves credit for keeping the show moving. Though the four-hour running time is daunting, it never drags, which is no small feat.

William Elliott's beautiful set design brings to life the essence of the Tyrone family home. Though large and modestly ornate, it is clear that James' frugality prevents any improvements, or even upkeep, to the property.

Though this might not be the best production of LONG DAY'S JOURNEY INTO NIGHT that you will ever see, the work of the highly-skilled cast makes spending four hours with an American classic more than worth your while. To purchase tickets, visit Mad Cow's website or call 407-297-8788.

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Banner Image: Peg O'Keef, Kristian Truelsen, Adam Reilly, and Gregg Weiner. Photo Credit: Tom Hurst | Mad Cow Theatre

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