“I don’t feel so bad about my drinking now,” chirped Andrew as he breezed out of the Apollo Theatre after Long Day’s Journey into Night and headed into a local hostelry feeling utterly reborn as a paragon of self-restraint.
History shall record that Eugene O’Neil’s life and works were not in vain then. His famously long autobiographical drama about a dysfunctional family (which he didn’t want published until 25 years after his death and never, ever performed) has served at least one useful purpose. Read the rest of this entry »