Review: Long Day's Journey Into Night at Everyman Theatre

By Jason Crawford Samios-Uy
Running Time: Approx. 3 hours and 15 minutes with two 10-minute intermissions


The Tyrone Family (l-r: Kurt Rhoads, Danny Gavigan, Tim Getman, Deborah Hazlett) Credit: Stan Barouh

Some of the best fodder for plays, movies, television, or any form of entertainment is the family. Every family is different and every family has their ups and downs where sometimes the ups last for years with a few downs in between or vice versa. Who has the perfect family? Do you? I certainly don’t and if you do, please tell me what your secret is. Family can drive you crazy, at times, and Everyman Theatre’s latest production, Long Day’s Journey Into Night by the incomparable Eugene O’Neill, Directed by Donald Hicken, gives us a peek into a small family’s dysfunctional relationships at the beginning of the 20th century and, lo and behold, this production exhibits that family structures and dynamics haven’t really changed much throughout time.

Deborah Hazlett as Mary Tyrone. Credit: Stan Barouh

Briefly, Long Day’s Journey Into Night is a semi-autobiographical piece about O’Neill and his own family and revolves around the fictional Tyrone family, including James, it’s patriarch and famous actor, though he is really only known for one particular role, Mary, his wife, who loves to reminisce about her perfect childhood and never really fit in with her husband’s life in the theatre, and their two sons, the older but disappointing Jamie, who seems to have never really grown up, and the unassuming and sickly Edmund. Taking place during one full day from morning until midnight, we are presented with a family at odds with each other and with their individual selves as they try to grasp what is left of their small family, all the while dealing with addiction, sickness, alcoholism, and all the other fun things that keep a family going. In the end, it’s family so… what can you do? What impressed me the most is the authenticity of the dialogue and relationships within this family. For instance, a nice peaceful game of cards can turn into an all-out shouting match, then just as quickly as the shouting match began, it ends with a query of whose turn it is, as if the shouting match never happened. THAT’S family. That’s how things work. When it’s family, you forgive what you’d kill others for and no one seems to know why, but that’s the way it is and in this piece, O’Neill is on point.

(l-r) Danny Gavigan as Edmund Tyrone, Deborah Hazlett as Mary Tyrone, and Kurt Rhoads as James Tyrone. Credit: Stan Barouh

Everyman Theatre has yet to disappoint with the production sets and this Set Design by Daniel Ettinger is no different. He uses his space wisely and his attention to detail is second to none. From the period furniture to the dark wood and insinuation of high ceilings, Ettinger hit the nail on the head with this design. The audience is transported to a turn of the century home that wants to look exquisite, but is really falling to pieces under the surface… much like the family who lives in it. Kudos to Ettinger for another successful design.
Jay Herzog’s Lighting Design works in tandem with the action of this piece and sets the mood and time of each scene flawlessly. Herzog’s use of subtle shifts and placement of the lighting gives the audience a sense of exactly what time of day it is which helps keep track of when the action is taking place in each scene. The shift from morning to afternoon, then afternoon into night is gradual and natural, just like a real summer’s day making for an impeccable design.

Tim Getman as Jamie Tyrone. Credit: Stan Barouh

Costume Design by David Burdick is spot on as this ensemble looks like they stepped right out of the early 1900s in their stuffy, but stylish duds that conservatively covers them pretty much from head to toe, so Burdick’s eye for authenticity is apparent and his talent for period pieces shines through in this design.
Donald Hicken takes the helm of this production and, being a well-known piece to many as well as a heavy piece, the challenges are vast, but Hicken tackles them and presents us with a well thought-out and well-paced production that hits home. His comprehension of the material is apparent and his casting is superb with apt and able actors who take this text and present it purely and intensely as is required. Hicken’s vision is clear and the message of learning the raw truth of your family isn’t always nice or comfortable but necessary to understand the ones closest to you is strong thanks to the performances he pulls out of his actors. Hicken should be applauded for his efforts with this complex, epic piece that he has presented beautifully.
Moving into the performance aspect of this production, it’s clear these actors enjoy working together and off of each other and all have great chemistry with his or her fellow castmates. If I didn’t know any better, I’d definitely believe this was your everyday, run-of-the-mill family down the street and that alone makes for a delightful evening of theatre.

Danny Gavigan as Edmund Tyrone and Tim Getman as Jamie Tyrone. Credit: Stan Barouh

I’d be remiss not to mention Katherine Ariyan, who takes on the supporting, but very important role of Cathleen, one of the spunky seasonal maids for the Tyrone family. Ariyan makes the most of her short time on the stage and is absolutely believable with her strong Irish accent and quick, natural delivery. Her character, at one point, acts as a fill-in for Mary, while her family is off on their own business, and is vital in bringing to light the addiction of which Mary gives into. Ariyan takes on this supporting role with gusto and gives a strong performance.
Tackling the significant roles of the Tyrone brothers are Everyman Theatre Company members Danny Gavigan as Edmund and Tim Getman as Jamie. The chemistry between these two actors is superb and authentic making for a natural brotherly relationship. Gavigan has a clear understanding of his character, who seems to be the “peacemaker” of this family even though he’s suffering from an ailment all to familiar to the era and he gives a confident performance, even when his delivery seems a bit lazy where I lose some of his dialogue. Though both are fine performers, Tim Getman, as Jamie, is the stronger of the two in this production. Getman hits the ground running with this loafing, seemingly caddish character, that he plays near perfectly, making his performance a highlight of this production.

Deborah Hazlett as Mary Tyrone, Kurt Rhoads as James Tyrone. Credit: Stan Barough

The parents of this dysfunctional crew are played by Deborah Hazlett as Mary and Kurt Rhoads as James. These two actors are quite believable as an older married couple who were probably very much in love at one time and the husband/wife chemistry between the two is splendid. Hazlett has a deep comprehension of her character and, it seems, of women in general of this early 20th century era and plays it to the hilt. I want to feel sorry for this character, but it’s clear she has found a way to deal with the lot she’s been given with the addiction she’s let take hold. Hazlett is sure to portray Mary as a caring soul, but with past and present demons she must deal with. The emotion she exudes as she tells this character’s story is poignant and real making for a stellar performance, overall.

Kurt Rhoads as James Tyrone. Credit: Stan Barouh

Kurt Rhoads, as James Tyrone, the loud, control-craving father of the brood, is the definite standout in this production. His impressive, booming voice makes one stand up and take notice when he is on the stage and his presence is strong and confident, as it should be for this role. He, too, has a great comprehension of his character and its flaws. In his scenes with Gavigan and Getman, he’s totally believable as the domineering father in his delivery and gestures while he is more subdued in dealing with Hazlett’s character. He gets this character and plays him near flawlessly making him one to watch in this production.
Final thought… If you’re going to check out Long Day’s Journey Into Night at Everyman Theatre, brace yourself! Go to the restroom, get settled, and be ready to make an entire evening of it. It is, after all, an O’Neill drama. However, that being said… this is a show you don’t want to miss! I went in with hesitations because of my modern-day short attention span, but this production is top-notch and engaging. The pacing is on point and the performances are superb. Over half a century later, this story of family relations is still relevant and very relatable. Even though this play is set in the early 1900s, it’s interesting to see how very similar family relationships are even today. Styles may change, but, in the grand scheme of things, human nature stays the same and Eugene O’Neill had an uncanny knack of putting it down on paper. With a great script and production value, this is not a show you want to miss this season.
This is what I thought of Everyman Theatre’s production of Long Day’s Journey Into Night… What did you think? Please feel free to leave a comment!
Long Day’s Journey Into Night will play through March 4 at Everyman Theatre, 315 W. Fayette Street, Baltimore, MD. For tickets, call the box office at 410-752-2208 or you can purchase them online.
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New Backstage Banter for Wait Until Dark at Everyman Theatre

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Check out the Backstage Banter for Wait Until Dark at Everyman Theatre!
“… throw in Greenwich Village, NYC in 1944 and a basement apartment and you have a fast paced, intelligent story that has you writhing in your seat and wanting to jump up on stage to yell directions to the protagonist.”
Everyman Theatre

Review: Wait Until Dark at Everyman Theatre

By Jason Crawford Samios-Uy
Running Time: 2 hours with one 15-minute intermission.
I’ve always been a fan of a good thriller. The nail biting, the jumps, the wondering what’s going to happen next, the edge-of-your-seat stuff… everything! I also love it because it accelerates the heart rate and you don’t even have to step on a treadmill, and we could all use some good cardio every now and again! The latest offering and opening production of the 2016/2017 season at Everyman Theatre, Wait Until Dark by Frederick Knott, Adapted by Jeffery Hatcher, and Directed by Donald Hicken is two hours of excitement, intrigue, and entertainment that gets the heart racing and will have you leaving the theatre with shorter nails and when you walked in.

Megan Anderson as Susan. Credit: ClintonBPhotography

Megan Anderson as Susan. Credit: ClintonBPhotography

Wait Until Dark is cleverly crafted with a ruthless gangster-type, an ousted NYPD detective, an army buddy, a bratty neighbor girl, an absent husband, and a seemingly helpless blind housewife who are all intertwined in a deadly game of hide and seek and catch-me-if-you-can. If this isn’t intriguing enough, throw in Greenwich Village, NYC in 1944 and a basement apartment and you have a fast paced, intelligent story that has you writhing in your seat and wanting to jump up on stage to yell directions to the protagonist.
Set Design by Daniel Ettinger is authentic, very well thought-out and compliments the story beautifully. Being a unit set and a basement apartment, Ettinger uses levels and, working along with the blocking of the piece, keeps the action moving and interesting. The set was so realistic, I really felt I was looking in through the window of a 1940s apartment in Greenwich Village so Mr. Ettinger has absolutely and superbly accomplished his set designing goals.
Eric M. Messner as Mike and Megan Anderson as Susan. Credit: ClintonBPhotography

Eric M. Messner as Mike and Megan Anderson as Susan. Credit: ClintonBPhotography

Costume Design by Ben Argenta Kress is spot on for the 1944 New York City setting and each actor’s wardrobe is seemingly researched and well though-out. Also, the costumes did not only fit the piece, the actors seemed to be very comfortable in what he or she is wearing, adding to the natural feel of the performances. From the saddle shoes of the upstairs neighbor girl to the uniform of a WWII soldier back from Italy, everything was in place and was matched impeccably with the piece.
Continuing with the technical aspect of this production, I couldn’t call this review complete without mentioning Lighting Design by Jay A. Herzog and Sound Design by Patrick Calhoun. Along with the Set Design and Costume Design, the Lights and Sound make this production a standout in current-running Baltimore theatre.
Megan Anderson as Susan. Credit: ClintonBPhotography

Megan Anderson as Susan. Credit: ClintonBPhotography

Many folks have different theatre tastes – traditional, minimal, spectacle, etc. – and I am more of a traditionalist, overall, but this production is truly impressive for the fact that I felt as though I was sitting in a movie theatre watching a film because of the Light and Sound Design. The cinematic feel was just want this production needed and every cue was chosen wisely.
Patrick Calhoun’s choice of incidental music and dramatic string chords were not overbearing but used seamlessly with the scenes playing out on the stage. The attention to detail is absolutely remarkable from the footsteps in the hall, the locking of doors, and the city sounds to the ticking clock, that emphasizes the suspense and has your heart beating just as loudly and in rhythm. Calhoun’s design is extraordinary and is a major part of the success of this production.
In 1967, Wait Until Dark was made into a successful film starring Audrey Hepburn, Alan Arkin, and Richard Crenna using the film noir style. The “noir” bit was a huge part in making the film successful (not to mention Miss Hepburn, of course), and this fact does not go unnoticed by Jay A. Herzog. His Lighting Design was near perfect for this production and completed the aforementioned cinematic feel of this piece. His use of lighting through the windows and through the open doors is realistic and added to the action. The prop lighting, such as lamps, flashlights, and the like fit in flawlessly, as well, adding subtle practicality to the entire production. The piece is dim, as all noir pieces are, but Herzog found a happy medium between the dark scenes and brightly lit scenes that did not take away from or hinder the action or story, but helped it along making for a very effective design.
The technical aspect of this production took this piece to the next level and Ettinger, Kress, Herzog, and Calhoun are to be commended for their impeccable technical work.
Taking the helm of this production, Director Donald Hicken’s vision for Wait Until Dark is genuine and well examined. He keeps the piece in its traditional setting, which is ideal for this piece, and his blocking keeps the actors moving through the various entrances and exits and keeps the action exciting. All of the technical and performance elements mesh together wonderfully and the tension is clearly present throughout but Hicken keeps the piece entertaining, as well, as to not overload the audience with horror and suspense. Overall, Hicken does a tremendous job in guiding this production.
Megan Anderson as Susan and Bruce Randolph Nelson as Roat. Credit: ClintonBPhotography

Megan Anderson as Susan and Bruce Randolph Nelson as Roat. Credit: ClintonBPhotography

At a particularly intense point in this piece, there is a drag-out, knock-down fight between a couple of important characters and though the scene choreographed by Fight Choreographer Lewis Shaw is respectable and passionate, something seemed to be off kilter. Perhaps it is the unbalanced momentum of the scene that seems to be interrupted here and there, giving us spurts of extreme physicality with dark quiet in between. The entire fight scene just seemed a bit forced and not as naturally flowing as the rest of the piece. Still, it was a respectable fight scene and the intensity was definitely there, making the audience gasp and clutch the arm rests while waiting to see who the ultimate victor is.
To comment on the performance side of Wait Until Dark, I’d like to begin by stating that the entire ensemble is impressive from the supporting actors such as Arturo Tolentino who gives a strong performance as the congenial WWII veteran husband, Sam, and Todd Scofield who is a convincing gruff, weathered, and disgraced former member of the NYPD.
Tolentino is confident as the very likable, young newlywed, Sam, who isn’t going to do things for his disabled wife, but wants her to do things for herself and he’s very natural and gives a very pleasing performance.
Todd Scofield as Carlino and Eric M. Messner as Mike. Credit: ClintonBPhotography

Todd Scofield as Carlino and Eric M. Messner as Mike. Credit: ClintonBPhotography

Scofield takes on Carlino, the first character to whom we are introduced and he sets the tone nicely, giving a robust, accurate portrayal of a character he seems to truly understand.
Bruce Randolph Nelson tackles the role of the old time, tough-guy ganster, Roat. He gives a commendable performance as he not only plays the tough gangster, but has to play a mild-mannered husband, as well as an in-your-face father, all within moments of each other. The contrasts between the characters he portrays and the ease in which he portrays them is evidence of the self-assurance he conveys on stage making for a magnificent, strong performance.
Bruce Randolph Neslon as Roat. Credit: ClintonBPhotography

Bruce Randolph Neslon as Roat. Credit: ClintonBPhotography

In this particular production, the role of Gloria, the bratty upstairs neighbor girl who “helps” her disabled downstairs neighbor, is played by two young actresses, Ui-Seng Francois and Shannon Hutchinson. I had the pleasure of experiencing the performance of Ui-Seng Francois and I was not disappointed. Francois’ performance is so authentic, I found myself actually hating this little monster and wishing she’d step out in front of a NY Transit bus every time she opens her nasty flippant mouth. So, needless to say, wishing for her unpleasant demise is a credit to her very strong performance. Also, this character’s change throughout the piece is very interesting and Francois pulls it off flawlessly and she ended up probably being my favorite character in the piece. I’m looking forward to seeing more from this young lady.
Eric M. Messner takes on the role of Mike, a jovial, friendly soldier who’s back from the war on the Italian front but, as with many things and people, never judge a book by its cover. Messner plays the complex character brilliantly and comfortably with a confidence and definite command of the stage. This character is supposed to be likeable from the beginning and Messner accomplishes this nicely with his large stature, his voice – a soothing timber and tone, his gentle mannerisms, and giving off the overall sense of security. He is likened to a gentle giant that you’d like to have around in a pinch.
Megan Anderson as Susan. Credit: ClintonBPhotography

Megan Anderson as Susan. Credit: ClintonBPhotography

A definite highlight of this production is Megan Anderson as Susan, the blind but independent housewife who ends up in the middle of this nerve-racking tale, who has a constitution of steel and discovers exactly how strong she can be despite her disability. Portraying a character with any disability is a challenge for any actor, but Anderson pulls it off flawlessly and authentically. She does not falter or drop her “blindness” at any moment in the production and her dedication and understanding not only of the disability of this character, but of the character herself is clear in superb performance. Her transition from the poor blind woman we feel sorry for to strong blind woman we’re rooting for is gradual, realistic, and seamless. She is an absolute joy to watch and her command of the stage makes for a solid and worthy performance.
Final thought… Wait Until Dark is a suspenseful and extremely entertaining show that will raise your heart rate, have you biting your nails wondering who is friend and who is foe, and rooting for the assumed underdog. It definitely has all the requirements for a good thriller with a twisting story and very talented cast that will have you on the edge of your seat from beginning to end.
This is what I thought of this production of Wait Until Dark.… what do you think?
Wait Until Dark will play through October 9 at Everyman Theatre, 315 W. Fayette Street, Baltimore, MD 21201. For tickets, call the box office at 410-752-2208 or purchase them online.