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Here on Compact Disc - a full-cast recording starring Robert Ryan, Stacy Keach, and Geraldine Fitzgerald - Eugene O'Neill's Long Day's Journey Into Night.

O'Neill's painful view of his own life forms the core of Long Day's Journey Into Night, one of the greatest of all American plays. The Tyrone family (father James, mother Mary, and sons Edmund and Jamie) of the play is a surrogate for O'Neill's own family and, through them, the playwright wrestles with his past de

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Book ID Asin: 0694523461
Book Title: Long Day's Journey Into Night
Book Author: Eugene O'Neill,Stacy Keach,Geraldine Fitzgerald
Book Format and Price:
Book Format Name: LibraryBinding
Book Format Price: $19.55
Book Format Name: Paperback
Book Format Price: $8.73
Book Format Name: AudioCD
Book Format Price: unknown
Book Price: unknown
Book Category: Books, Literature & Fiction, Dramas & Plays and unknown
Book Rating: 56 ratings

Long Day's Journey Into Night by Eugene O'Neill,Stacy Keach,Geraldine Fitzgerald Book Review

Name: D. Dana
Rating: 5.0 out of 5 stars
Title: great book but
Date: Reviewed in the United States on May 25, 2020
Review: was very dusty and i have bad dust alleriges. got allergy attack when i tried to reaad it. will have to try to shake it outside and hope it improves. going for shots to try to help. should have gotten a new copy but no fault of seller said it was used.

Name: Eric Wishart
Rating: 5.0 out of 5 stars
Title: a compelling read
Date: Reviewed in the United States on September 21, 2012
Review: Long Day's Journey Into Night has long been recognised as one of the great plays of the 20th century. But I would recommend that you read it on the page, it is a compelling journey into the dark side of an American family, and I could hardly put it down.

Name: A. Ohmi
Rating: 1.0 out of 5 stars
Title: BAD TEXT
Date: Reviewed in the United States on December 8, 2014
Review: I believe the play is faultless, but I found some misprints in the text of the kindle version . Very disappointed.

Name: not a natural
Rating: 5.0 out of 5 stars
Title: What Can the Future Hold?
Date: Reviewed in the United States on August 18, 2014
Review: Eugene O'Neill's autobiographical play Long Day's Journey Into Night has an atypical structure. Instead of the conventional pattern of exposition, climax, and denouement, this play becomes clearer and more painful the further we get into it. At the end, one is left wondering what could become of this hopelessly dysfunctional family and the father, mother, and two sons who constitute it?

Thematically, the play is rooted in the past and our inability to escape it. It's all well and good to put up a false front of bravado and proclaim that what doesn't kill me just makes me stronger. Perhaps now and then this is true, but in Long Day's Journey Into Night, the past is fraught with disappointment and deformity, events and developments that shape the characters in ways they regret, can never overcome, and that prefigure the rest of the lives they will live.

The father is James Tyrone, by most accounts a fairly well known actor, successful enough so that he can afford to support his wife and ne'er do well sons in reasonable comfort and still engage in misguided, ill-advised land speculation. James came up the hard way, but his consequent tight-fistedness is not tempered with wisdom or even sly self-interest. He cuts corners in all the wrong places,and as an investor he is guided by the half-baked notion that land is "solid," always a sound choice.

Abandoned by his father when he was only 10, he and his mother and the other children scraped by as best they could. Scarred by the experience rather than strengthened, he lives in fear of dying in the poor house, though that dismal prospect seems very remote. As luck would have it, he was given the lead in a contemporary play that made his career, and he enjoyed the luxury of playing the same role for decades. A good gig, easy work, but talent undeveloped and wasted.

His wife Mary traveled with him during the season, as the play moved from one place to another. When we meet her, she is a once-beautiful and perhaps gifted woman who never tires of telling stories of dirty rooms in cheap hotels serving bad food, and waiting up for James while he caroused with his theater cronies. She might have become a nun, but after she completed school she was sent out into the world for a year or two to test her commitment. She failed, falling in love with and marrying James.

Mary's once graceful pianist's fingers are arthritic, twisted and misshapen. Perhaps they are a metaphor for her tortured soul. The pain of giving birth in yet another seedy hotel room was eased in too facile fashion by a physician of sorts who gave her morphine. Now she an addict who escapes past failures and the pain of unhealed wounds with self-administered injections. Her morphine, evidently, is prescribed by another physician-in-title-only whose cut-rate services make him especially attractive to penny-pinching James.

The older son, Jamie, has never worked, as far as we know, though he once showed academic promise, but that led to failure. Why money-obsessed James supports him with few complaints is not clear. A lush with a taste for women-for-hire, it's anybody's guess as to what he plans for the future except more of the same. He considers himself a despicable failure, a judgment occasionally, and without much effort, reinforced by his father, but Jamie seems not to mind. Toward the end we learn that he minds very much, but so what?

Edmund, the younger of the two sons, is in his early twenties. He seem extraordinarily short on life experience, and he has a taste for modernist literature, the kind his father finds morbid and sure to cause needless cynicism and depression. Jamie's prospects, undefined for the present, are surely colored by the suspicion, soon borne out by a diagnosis, that he has tuberculosis, as frightening in that time (1912) as cancer is today. True to the nature of one abandoned to poverty as a child, James arranges for Edmund to be treated in a cheap state facility, though he subsequently relents, more or less.

The longer the play lasts the more Mary's addiction takes painful and unpredictable presence over everything else. The weather tells a story of unmarked danger, dense fog pierced by repeated warnings from a fog horn. Mary is a lost soul. The best she can do is protect herself from the cheap and dirty hotel rooms and bad food and regret over the loss of the long gone prospects of her youth by escaping into a drug-induced dense fog of her own.

It seems absurd to speak of the future for these four. But one of them became perhaps the finest playwright of the Twentieth Century. Perhaps in that one instance the hackneyed claim that what doesn't kill me just makes me stronger had merit. But who knows? Beyond his success as a dramatist, what was Eugene O'Neill's life like. A brief biographical piece I found online sums it up this way: "O'Neill died as broken and tragic a figure as any he had created for the stage" (www.oneill.com/biography.htm).

Name: Mary Whipple
Rating: 5.0 out of 5 stars
Title: The past is the present, isn't it? It's the future, too."
Date: Reviewed in the United States on June 29, 2008
Review: When Eugene O'Neill wrote this play in 1940, it was so autobiographical that O'Neill requested it not be published until twenty-five years after his death. When he died in 1953, all the other characters in the play had also died, however, and his wife allowed the play's publication in 1956. Despite O'Neill's three previous Pulitzer Prizes and his Nobel Prize for Literature in 1936, it is this play (also a Pulitzer winner) that he regarded as his most important work, an assessment with which historians and theatre-goers universally agree. Many (and I am one) also believe it is the greatest American play ever written.

Long Day's Journey Into Night is a complete theatrical experience, satisfying on every level. Recreating his own family and its interactions, O'Neill's emotional connection with the characters is obvious in the roundness of their characterizations: there are no villains or heroes here. James Tyrone, modeled on his father, is an actor who found the "perfect play," resulting in years of travel performing the same role. Permanently typecast and by now bored, James has earned a substantial salary but is considered a tightwad, unable to escape his memories of poverty. Mary Tyrone, his wife, to whom he is devoted, traveled with him when he performed, often leaving the children with family members. When her youngest child died in her absence, she blamed everyone for this accident. Edmund, modeled on O'Neill himself, was born after this, but Mary never recovered, and when an incompetent doctor prescribed drugs, she became blissfully addicted.

The two sons, Jamie and Edmund, observe the interactions of their parents, their father losing himself in alcohol, their mother constantly re-addicting herself so she can live in a world without hurt, and they interact both with both parents and with each other. Jamie, considerably older than Edmund, regards himself as Edmund's protector, both from the outside world and from the sometimes hurtful relationships both have with their parents, who regard Jamie as a failure because of his drinking, and Edmund as a baby. Edmund, however, has traveled the world before returning home recently with a "bad summer cold," obviously the early stages of tuberculosis, a reality his mother refuses to recognize. As he awaits an official diagnosis from a cut-rate doctor, Edmund tries to channel his feelings and his fears into the poems he writes.

Though many gifted dramatists can make one or two characters come alive in a play, O'Neill does it here for all four characters, each of whom rings completely true. Their actions and conflicts arise from within, and the viewer becomes completely caught up in the dialogue and events on stage because they are so natural, so life-like. Though the play is about three and a half hours long, these are hours that fly by, the intensity of the family's internal conflicts totally involving, as the love underlying these conflicts and the hidden resentments which ignite them emerge at odd moments and create poignant scenes. Ironic humor, much more obvious in the hands of outstanding stage actors than in the written script, provides relief from the powerful tensions and keeps the play from ever appearing sentimental or melodramatic. The most moving theatrical experience I have ever had, this play is breathtaking, heart-rending, and utterly overwhelming. Mary Whipple