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In the 1910s the American theater, long dominated by melodramas, dictatorial producers (most of whom were artless magnates), and an audience more drawn by stars-preferably Britishthan good scripts, was finally ready to establish its own identity. The cha...

In the 1910s the American theatre, long dominated by melodramas, dictatorial producers (most of whom were artless magnates), and an audience more drawn by stars--preferably British--than good scripts, was finally ready to establish its own identity. The...

"I want to be an artist or nothing," wrote aspiring playwright Eugene O'Neill at the age of twenty-five. He pursued his goal relentlessly, and when he died forty years later he had written more than fifty plays, won the Nobel and several Pulitzer prizes,...

(LONG WHARF THEATER; 487 SEATS; $47.50 TOP) NEW HAVEN, Conn. A Long Wharf Theater presentation, in association with Seattle's ACT Theater, of three plays by Eugene O'Neill ("Homecoming," "The Hunted," "The Haunted") performed with two intermissions. Directed by Gordon Edelstein. Set, Andrew...

Mourning Becomes Electra, by Marvin David Levy, at the Lyric Opera of Chicago. F. Scott Fitzgerald famously wrote that there are no second acts for American lives. While that observation remains contestable, the resurrection this fall of Marvin David Levy's Mourning Becomes...

In the following essay, Feldman illuminates the influence of Sigmund Freud's concept of the death instinct on Eugene O'Neill's plays Strange Interlude and Mourning Becomes Electra, but acknowledges that O'Neill's characters seek death as an escape from the pain of living. rather than as an instinctual urge.