O'Neill: Son and Artist

Sheaffer, Louis

doi:10.2307/40128311

Cited by 61 publications

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“It Brought the World to this Coast”: The World Premiere of Eugene O'Neill'S Lazarus Laughed at the Pasadena Community Playhouse

King

1988

Theat Surv

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Almost two years after its completion in May of 1926, Eugene O'Neill's Lazarus Laughed received its premiere production—not in New York. This “Play for an Imaginative Theatre,” clearly the most theatrically demanding of all of O'Neill's works, made its first appearance in California, at the Pasadena Community Playhouse, opening April 9, 1928. Not since the days when his earliest one-act plays were produced at the Wharf Theatre in Provincetown, Massachusetts, had an O'Neill play failed to result in a New York production.

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“It Brought the World to this Coast”: The World Premiere of Eugene O'Neill'S Lazarus Laughed at the Pasadena Community Playhouse

King

1988

Theat Surv

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Long Day's Journey was the “Wrong” Play

Ryan¹

1988

Theat Surv

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“I don't think I'll have anything very interesting to tell you.”When I met and interviewed Karl Ragnar Gierow in his office at the Royal Swedish Academy, Stockholm, February 27, 1973, he at first expressed skepticism about whether there was any Eugene O'Neill story to be told. But I had earlier paid several visits to the archives of the Royal Dramatic Theatre (Kungliga Dramatiska Teatern/ Dramaten); had closely researched the historic O'Neill world premieres (1956–62) while Gierow was Dramaten's General Intendant (Manager); and had been carefully coached by Stig Torsslow, the theatre's venerable Dramaturg, concerning Gierow's exploits in acquiring, translating, and producing four of O'Neill's posthumous plays. These comprised Long Day's Journey into Night (February 10, 1956); A Touch of the Poet (March 19, 1957); Hughie (September 18, 1958); and More Stately Mansions (November 9, 1962). I had come to my appointment with Gierow bearing some essential facts and with plenty of questions about Long Day's Journey and the playwright's widow, Carlotta Monterey O'Neill. Gierow was cordial, accommodating, and forthcoming with marvelous remembered details. I returned to Finland (where I was a Senior Fulbright-Hays Scholar) full of appreciation for Torsslow's avuncular counsel and Gierow's vivid recollections. I carried along voluminous notes from my longsought interview and copies of some O'Neill scripts from Dramaten for the Library of Åbo Akademi.

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Dionysos in 1915: A Pioneer Theatre Collective

Sarlos¹

1977

Theatre Research International

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In an essay on ‘Collective creation,’ Theodore Shank observed that emphasis on the ‘cooperation of a creative collective,’ sometimes in combination with group living, is a response to ‘the fragmentation of established society,’ and as such, an essential distinguishing characteristic of the ‘alternative’ or ‘new’ theatre. Social fragmentation and individual alienation from society are not, of course, products exclusively of the nine-teen-sixties; the idea that individual survival is possible only within a group structure has emerged in previous generations that have felt threatened by a cult of individualism—a salient characteristic of Western civilization that has been carried ad absurdum in the United States.

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O'Neill: Son and Artist

Cited by 61 publications

References 0 publications

“It Brought the World to this Coast”: The World Premiere of Eugene O'Neill'S Lazarus Laughed at the Pasadena Community Playhouse

“It Brought the World to this Coast”: The World Premiere of Eugene O'Neill'S Lazarus Laughed at the Pasadena Community Playhouse

Long Day's Journey was the “Wrong” Play

Dionysos in 1915: A Pioneer Theatre Collective

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