Apr 34 min read

Review: Long Day's Journey Into Night (Wyndham's Theatre)

Review by Daz Gale

⭐️⭐️⭐️⭐️

Eugene O’Neill’s autobiographical magnum opus Long Day’s Journey Into Night returns to the West End on the same stage it last played here in 2018. With a couple of Emmy award winners leading the intimate but impressive cast and a proven story that has won over audiences time and time again, expectations are understandably high for this production but can it live up to it?

Written between 1939-1941, Long Day’s Journey Into Night didn’t premiere until 1956, after Eugene O’Neill’s death. Since then, the story has been adapted into a multitude of movies as well as regular productions on stage all over the world. An autobiographical tale inspired by O’Neill’s own family, the play focuses on the four members of the Tyrone family over one day as they face their own demons and attempt to bring some function to their dysfunctional family.

O’Neill’s writing remains every bit as impactful now as it did all those decades ago with a timeless story intimately probing the goings on of a family behind closed doors. While the Tyrone family may have their own unique character traits and battles going on, there is something eerily familiar and relatable in the characters we see – not just in how we may draw parallels from our own families but also in how these characters have been recreated and represented in countless plays since. It is the accessibility to the story that adds to the charm with O’Neill’s unflinching writing full of depth and complexities. Though this can sometimes feel hard to follow as clarity takes a while to reveal itself, it is ultimately worth the payoff though be prepared to put a little bit of work in to get the most out of it.

Jeremy Herrin’s direction attempts to breathe something new into the story while never compromising its integrity or what has made it such a well-loved play, perfectly striking the balance. Clearly understanding the intimacy of the story, Herrin understands no bells and whistles are required here and the focus should remain purely on the five fabulous actors telling the story. With an unchanging set focused on one room of the Tyrone’s house, Lizzie Clachan’s design doesn’t attempt to fill the space of the Wyndham’s Theatre, instead keeping the action rooted to a small part of the centre of the stage. This simple yet effective decision never runs the risk of being boring, instead adding to the intimacy of the piece and giving Herrin plenty of scope with inflictions, mannerisms and reactions to bring O’Neill’s words to life.

The clue may be in the title but Long Day’s Journey Into Night isn’t the shortest of plays and, at times, the pacing does suffer slightly. With two substantially long acts, it can feel like a hard slog at times especially as your mind whirs away in the background trying to make sense of what is going on and put 2 and 2 together – the result can be a slightly exhausting watch that won’t appeal to everyone. For the most part though, the watch is captivating throughout with dynamics between the family members providing the most riveting of watches. While act one is more of an ensemble piece between the family, act two hones in on different pairings, be it Mary and Cathleen, James and Edmund or Edmund and James Jr. This creates distinctly different and ever-changing scenes which retains your interest, despite the relatively mammoth length of the second act.

If O’Neill’s timeless writing is already lifted by Herrin’s expert direction, the accomplished cast more than match the high standard prominent throughout. Brian Cox returns to the West End stage after more than a decade to once again prove what a marvellous actor he is, expertly steering the ship as family patriarch James Tyrone. In a commanding turn with unrivalled stage presence, he gives a multifaceted performance where a stern exterior gradually ebbs away through emotion and drink to reveal something far more intricate. Cox navigates these extremities with such class and care, it is astonishing to witness in a performance that feels authentic and completely gripping.

As James’ long-suffering wife Mary, Patricia Clarkson has no shortage of aspects to unravel in her character, delivering an awe-inspiring portrayal. In perhaps the richest and most complicated of all the characters, Patricia delicately unwraps the layers to Mary, revealing as much or as little as she wants to in a demanding and emotive performance. Mary’s knack for a lengthy monologue gives Patricia some of the most impressive scenes in the play, all of which are delivered with precision and to perfection.

Laurie Kynaston impresses as the Tyrone’s son Edmund, initially underplaying his circumstances which in turn lets the gravity of the situation all the more impactful. Laurie’s understated nature at the beginning grows into something different by the second act, showing versatility and depth in a heart-wrenching performance. Though he has less to do than in comparison, Daryl McCormack makes his presence felt as Edmund’s brother James Tyrone Jr, with a larger-than-life bravado providing an interesting contrast to that of his brother and creating differing dynamics with each of his family members. The cast are completed in a small but scene-stealing turn by Louisa Hartland as Cathleen who brings much needed bursts of laughter to break up some of the more troubling of moments in the play.

If Eugene O’Neill’s writing was sensational enough in the past, the choice of direction and remarkable cast bring something new to the play, truly elevating the classic. This production of Long Day’s Journey Into Night may not be the easiest of watches at times, but the intelligence of the writing and care taken into realising these in this new production creates something truly riveting and ultimately powerful. It may feel like a long journey to get to the climax of this lengthy play but the powerful and stirring end result will stay with you all night.