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"O'Neill has done nothing much in the American drama
save to transform it utterly in ten or twelve years from a false world of neat and competent trickery to a world of splendor,
fear and greatness ... [he has] seen life as something not to be neatly arranged in a study, but as a thing akin to a tornado,
an earthquake or a devastating fire.''
Sinclair Lewis
American novelist and playwright
Experience why O'Neill
is
America's greatest
playwright!
"O'Neill was a superb writer of
compassionate insight into the human condition. He is our country's greatest and most influential playwright."
Robert Falls
Artistic Director The Goodman Theatre, Chicago
50 published plays
4 Pulitzer Prizes Nobel Prize
Previous O'Neill Productions
"The
Heritage-O’Neill Theatre Company has breathed fresh life into the tale of the Hogan family and the cursed James Tyrone,
Jr. (Sean Coe), highlighted by Lisa Hodsoll’s transcendent performance as the hard nosed, big hearted Josie Hogan. She
commandeers every one of her scenes, even when remaining silent; such is the range and strength of her performance. Director
Karey Faulkner’s muscular direction allows the cast to tackle the rich text with a mix of abandon and artistry. As
James Tyrone, Jr., Sean Coe brings a sly charm and tragic optimism to the role of a tortured soul drowning his dark past at
the bottom of a whisky glass. His pained confession late in the second act sweeps away lingering doubt about his approach
to the character. Coe’s riveting mood swings reveal a man who is alternately terrifying and pitiable, and his light
touch early on only magnifies the impact of his eventual breakdown."
Ben Demers
DC THEATRE SCENE
("Lisa) Hodsoll perfectly captures the complexity O'Neill
built into one of his most fascinating characters. In her flawless, energetic performance, she makes Josie's self-criticism about her physical
appearance appear quite credible. (Sean) Coe fully inhabits the roller coaster of James' spirit (at) the end of the
play, where James and Josie wait together for the dawn to break, when James bares his soul and confesses his guilt about his
past. Director Karey Faulkner keeps the production moving at a sensible
pace, emphasizing Hodsoll's lightness of spirit as a counterbalance to the gravity that is an essential element of "A
Moon for the Misbegotten." Benjamin Fan's subtle lighting is exquisite and (his) set creates the right mood. It's
the perfect setting for a play in which the characters must find their true selves."
Barbara Mackay
WASHINGTON D.C. EXAMINER
"Directors Karey Faulkner and Sean Coe nicely play up the elements of tension, subliminal, and
overt anger offering proof of O'Neill's extraordinary ability to explore a vast range of emotions ..."
Barbara Mackay
The Washington Examiner
May 25, 2010
"The shared direction by Karey
Faulkner and Sean Coe is insightful and quite emotionally moving. The prize of the show goes to the fantastic sound design by Benjamin Fan who places the thunderous ocean behind
the audience for local color throughout. The fine third
act certainly recommends this production and, of course, any script by Eugene O'Neill is the acme of playwriting."
Bob Anthony
All Arts Review 4 U May 15, 2010
A theatrical jewel of even
GREATER drama and intensity than
"Long Day's Journey into Night"
Eugene O'Neill's
A TOUCH OF THE
POET
A story of pride and love, of the immigrant
experience and of Irish nobility, about the transcendent dream passed from father to child, and the price of that
dream.One of O'Neill's finest plays.
"THE LONG VOYAGE HOME"
The "S.S. GLENCAIRN" cycle
The never-ending story of man's wanderings over the waters of the world in search of peace for his soul. O'Neill's
4 harsh yet poetically beautiful Sea plays now combined into 1 full
length production ... 1 title ... 1 epic
journey of the British freighter, S.S. Glencairn and her crew..
"Moon of the Caribbees," "In the Zone," "Bound East for Cardiff,"
and "The Long Voyage Home."
| "HUGHIE" by Eugene O'Neill |
|
|
| Stephen Price and Sean Rowe |
"HUGHIE"
by Eugene O'Neill
"Directed at a nearly-mesmerizing pace that
lingers just long enough on each point to let the full flavor steep without seeming ever to have an artificial pause. Once
the show gets underway, the magic of live performance and artistry takes over and casts its spell. It makes you want more."
Potomac Stages
|
|
| Sean Phillip Rowe and Cassandra Hoye |
"A MOON FOR THE MISBEGOTTEN"
by Eugene O'Neill
"The nonstop, roundabout banter, full of ruses,
evasions and fluctuating moods, becomes both seance and exorcism with the strong performances. This is a challenging work,
both for the four actors and the audience. It requires work for the viewer to remain focused, to see the people behind the
masks created by the torrent of words. But it delivers rich rewards to those who pay close attention and get a glimpse into
the human heart. With all leading actors exuding an energetic, emotional honesty, a satisfying, almost sweet resolution packs
a wallop to send you out into the late night."
Michael Toscano
The Washington Post
| "LONG DAY'S JOURNEY INTO NIGHT" |
|
"LONG DAY'S JOURNEY INTO
NIGHT"
by Eugene O'Neill
"A spectacle
that draws the audience in and holds it tight. As theatre it can be riveting. The brain becomes activated and engaged as O'Neill's autobiographical masterpiece
takes shape and the depth of his personal anguish envelops you like the Long Island Sound fog his characters love. This production
manages to steadily build until time seems to be going faster the longer the portrait continues to manifest itself -- a not
insignificant achievement."
Michael Toscano
The Washington Post
"An impressive evening of theatre. The
entire cast is simply superb. They cast O'Neill's magic spell and (have been)
guided into an ensemble effort of note. The pace is just right. The material is rich enough and fascinating enough to keep the audience engrossed. It works."
Potomac Stages
"Paul Robeson’s collaboration with Eugene O’Neill launched his career in the performing arts and marked
a transition from the depiction of dehumanized caricatures of the Black male to fully human theatrical roles with dignity,
power, nobility and heroism. "
Paul Robeson,
Jr.
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