strange interlude, national theatre

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endobj soliloquies and asides are printed as indented paragraphs. It revolves around Nina Leeds (wonderfully played by Anne-Marie Duff).

��w�G� xR^���[�oƜch�g�`>b���$���*~� �:����E���b��~���,m,�-��ݖ,�Y��¬�*�6X�[ݱF�=�3�뭷Y��~dó ���t���i�z�f�6�~`{�v���.�Ng����#{�}�}��������j������c1X6���fm���;'_9 �r�:�8�q�:��˜�O:ϸ8������u��Jq���nv=���M����m����R 4 � You can unsubscribe at any time by following the instructions in the footer of every email we send. Either way, he proves himself the most enjoyable element of the lengthy production - with his soliloquys in particular offering an excruciatingly funny insight into the self-flagellation he has endured for so long while his love entertained an army of men. ★★★ LONGING, loss and lust loom hilariously large in an impressive revival of Irish-American playwright Eugene O’Neill’s Strange Interlude at the National Theatre this month.. So head to the Southbank and catch an American classic with a modern twist from some of the best performers - both on and off the stage - currently commandeering London’s theatre district. 6 See Charles B. Davenport, Heredity in Relation to Eugenics (New York: Henry Holt, 1915), 1. O’Neill sets up and then repeatedly questions a powerful social myth of good and bad bloodlines in Strange Interlude. "Despite its account of love, lust, betrayal and madness, the play is often startlingly funny as well as touching...It’s a wonderfully gripping production of play that keeps springing surprises to the end "Charles Spencer for The Daily Telegraph, "...stand-out performances from Anne-Marie Duff and Charles Edwards, shines with quiet magnificence..."Fiona Mountford for The Evening Standard, "Most satisfying production. You can find our Community Guidelines in full here. But if Strange Interlude looks back to the past in its style, it will also strike viewers with its modernity. First, the characters address the audience directly through soliloquy, and they also deliver asides during their dialogue with other characters. Through imaginative and innovative in-school, on-site and online activities, NT Learning opens up the National’s repertoire, artistry, skills, and the building itself, enabling participants of all ages to discover new skills and experience the excitement of theatre-making. But the psychological perception and emotional rawness of O’Neill’s writing, coupled with the superb performances and emotional truth of Simon Godwin’s gripping production, brilliantly designed by Soutra Gilmour, make it surprisingly easy to suspend one’s disbelief. © 2020 Shakespeare Theatre Company. Are you sure you want to mark this comment as inappropriate? He agrees and in the process they inevitably fall in love. The plot turns on a two-part eugenic conviction that is articulated in the third act. not Stoppard or Shakespeare, but it’s a wonderful dramatic construct, and full 3 Cited in O’Neill and His Plays: Four Decades of Criticism, ed. Our journalists will try to respond by joining the threads when they can to create a true meeting of independent Premium. %PDF-1.7 Welcome to the National Theatre’s background pack for Strange Interlude. 5 0 obj Theatre Fan? Review – Strange Interlude, National Theatre Monday 3 June 2013 . n�3ܣ�k�Gݯz=��[=��=�B�0FX'�+������t���G�,�}���/���Hh8�m�W�2p[����AiA��N�#8$X�?�A�KHI�{!7�. The bad bloodline belongs to Bessie Evans, and the good, to Gordon Shaw; both are looming, unseen figures whose genetic legacies influence the action of the play. of theatrical excitement: Simon Godwin, a bright Royal Court associate making Simon Godwin’s gripping production keeps springing surprises to the end, writes Charles Spencer. O’Neill also shared with eugenicists an abiding concern with visibility and spectatorship. His portrait of a lady is that She bitterly regrets that she didn’t have sex with him before he went to war, and throughout one is struck by just how daringly frank the play is for its period.
Opening on January 30, 1928, Strange Interlude was a national phenomenon. lies behind the sounds called words, and Duff gives a scintillating account of Spanning a period of more than a quarter of a century over 9 acts and with a running time of several (estimates I have seen vary between 4 and 9) hours in its uncut version, this play by Eugene O'Neill first appeared in 1928. Create a commenting name to join the debate, There are no Independent Premium comments yet - be the first to add your thoughts, There are no comments yet - be the first to add your thoughts. It allows our most engaged readers to debate the big issues, share their own experiences, discuss real-world solutions, and more. Eugene O’Neill’s Strange Interlude has been cut down to less than three and a half hours for its production by England’s National Theatre on the Lyttleton Stage. O’Neill’s ambitious effort to grapple with these questions brought him unprecedented public acclaim.

Nina's dashing, athletic and universally admired fiancé, Gordon Shaw, has been killed in action, and she is full of regret that she did not sleep with him before his demise. <>stream His new version of ongoing, irresolvable dramatic suspense lies in the audience’s struggle (alongside the characters) to determine which versions of the past are more or less true. endobj Welcome to the National Theatre’s background pack for Strange Interlude. Her father has also died, so she is now on her own, though a family friend Charles Marsden always seems to be on-hand. hours, from the aftermath of the Great War to a futuristic New York metropolis �V��)g�B�0�i�W��8#�8wթ��8_�٥ʨQ����Q�[email protected]�&�A)/��g�>'K�� �t�;\�� ӥ$պF�ZUn����(4T�%)뫔�0C&�����Z��i���8��bx��E���B�;�����P���ӓ̹�A�om?�W=
The notoriously weighty piece has been shortened to a mere three hours and 15 minutes and brought to comedic new heights in London’s Southbank under the direction of Simon Godwin. The latter, in the many-faced role of Nina, proves herself a chameleon and master of her art. <> �� ���Y�_��z �����tiҿ 9�l� In 1928, however, the audience wanted to see precisely what Atkinson objects to, and often they wanted to see it more than once. At others it is deeply moving for few dramatists penetrated to the core of the human heart more powerfully than O’Neill. of a New England New Woman, Nina Leeds – played effervescently at the National

For the piece has much in common with a really first rate TV soap or drama series as the characters private lives become ever more fraught and complex over a time span of 25 years. "Pardon me, while I have a strange interlude," said Groucho Marx in Animal Crackers, initiating one of very few jokes ever made in the cinema about the late-1920s experimental American theatre. If you’ve enjoyed this background pack or would Charles Edwards is fine form and provides much of the humour as the the prim and affected writer Charles Marsden; and Darren Pettie is the blunt, bluff and handsome doctor Edmund Darrell who is so besotted by Nina and thus in her control that he cannot bring himself to reveal the true nature of their relationship to either his son or Nina's husband. H���yTSw�oɞ����c [���5la�QIBH�ADED���2�mtFOE�.�c��}���0��8�׎�8G�Ng�����9�w���߽��� �'����0 �֠�J��b�

6 0 obj Strange Interlude opened on Broadway on January 30, 1928, and won the Pulitzer Prize for Drama. Oscar Cargill et al. It is reminiscent of the soliloquies and asides of Elizabethan and Jacobean theatre. (MCNY), New York City. Written about extensively in newspapers and magazines across the country, Strange Interlude raked in glowing reviews; the majority of critics hailed Strange Interlude as an unmatched dramatic accomplishment. At the same time, the primary concern of the play is the extensive, shaping past, and what will be transmitted to the future. When in the final moments of the play Nina bursts forth with the play’s 20-year-old guilty secret, her literal identification is understood only as a figure of speech. Strange Interlude – review 4 / 5 stars 4 out of 5 stars.

The struggle over hereditary myths, which denies the possibility of an objective version of the past, dominates the play. 7 J. Brooks Atkinson, “Laurels for Strange Interlude,” New York Times, 13 May 1928, “Strange Interlude,” Theatre Collection, MCNY, NY. The father of her child is very well So she decides to head-off to nurse injured veterans and ends-up offering them rather more than simple medical care. 3 0 obj his mother tells Nina she must never have a child by him. Reviews, Sometimes the difference between public utterance and private thought is richly comic. and out of their onstage dialogue to address the audience and betray their secret When Nina appears in the first act, she is unhinged by the loss of her fiancé Gordon, a pilot killed in WWI, but even more so by her lack of a child. All Rights Reserved. And, as the loyal puppy waiting by Nina’s side as her life twists and turns following the death of her first love, Charlie is thankfully never far from the action of O’Neill’s 1923 black comedy. LONGING, loss and lust loom hilariously large in an impressive revival of Irish-American playwright Eugene O’Neill’s Strange Interlude at the National Theatre this month. dressed up as art” sneered another critic), gave one of her greatest stage The play’s obsession with reproduction is evident in its nine-act length, and here anxiety about reproduction and how (and what) qualities are passed from one generation to the next rests on a eugenic storyline. N'��)�].�u�J�r� Strange Interlude takes nine long acts to play out the hereditary scope of the story, which follows four central characters from 1919 to 1945. Want more? <>>> more jokiness, much of it emanating from the fierce style and comic invention H�l�OO�0���>n\;���:C�H �R�l�w�ۓ�L�E���_�1��=�|g�����ܙ�i���$��<5�P^�k�^�Y���!��2ߖ��P�(X��Y�+3�q�4Ә�%�*E[*a��*{/_y%����dj�~i�H�m6�؀Rq���X���hR7_���h}���;����V��˻��PoȚ SaU�H�G'��(^`z��]�O��Y�X.�����f} Ultimately, with such quality on stage – both in timber and talent – O’Neill’s perfectly pitched dry humour, placed in the darkest of human situations, shows the National at its best. a woman at sea with her psyche and splayed in the spider’s web of her men’s �x������- �����[��� 0����}��y)7ta�����>j���T�7���@���tܛ�`q�2��ʀ��&���6�Z�L�Ą?�_��yxg)˔z���çL�U���*�u�Sk�Se�O4?׸�c����.� � �� R� ߁��-��2�5������ ��S�>ӣV����d�`r��n~��Y�&�+`��;�A4�� ���A9� =�-�t��l�`;��~p���� �Gp| ��[`L��`� "A�YA�+��Cb(��R�,� *�T�2B-� What Strange Interlude provided was an active, repeated playing out, in the immediate present, of hereditary concerns, and eugenics fed both desires and anxieties about what would be transmitted to a postwar generation. by Anne-Marie Duff – and the three men in her life, as well as her father and O’Neill both adopts and reconfigures ideas of heredity and eugenics in Strange Interlude in order to explore the influence of the past on the present and the power and limits of visibility. The notoriously weighty piece has been shortened to a mere three hours and 15 minutes and brought to comedic new heights in London’s Southbank under the direction of Simon Godwin. This results in

In debating the force of the past in the present, O’Neill gradually transforms the conventional dramatic structure of exposition, complication, climax and resolution. "Michael Coveney for The Independent, "Excellent production. O’Neill Baby.” (2) Here drama merges with eugenics—the idea of hereditary improvement by controlled selective breeding—in O’Neill’s name. In eugenic theory, there is a vital tension between hidden truth (for eugenicists, usually ominous, recessive genetic secrets) and visible truth, or dominant genetic history displayed on the body. his National Theatre debut, whips us through, in well under three-and-a-half

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