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A new collection of shorts from Don Nigro, including:
GORGONS (2f ) Ruth and her rival Mildred are aging movie stars in the 1960s. They have in their time been goddesses of the screen, but now both are on the skids and desperate for work. Mildred is doing obscure theatre under spartan conditions when Ruth comes to her with a film script. It's a horror movie called Gorgons, about two insane and homicidal sisters. Both long to be famous again, so they agree to do the movie, with comical results. This ice-pick-sharp, dark-as-a-tomb riotous struggle between two titans of the screen is a playground for two mature actresses who can play every note on the emotional keyboard and really go all out.
SYCORAX (1f) Sycorax, the witch mother of Caliban on Prospero's Island, tries to explain the world to him and help him defend himself against Prospero and Miranda before she is herself consumed by her demonic God and lover Setebos. A powerful acting piece for a mature actress.
THE GHOST FRAGMENTS (1f) Naomi, a young woman who finds herself convinced that the old house she lives in is haunted, tries to solve the mystery of the house and of her own dark past.
THE LAST OF THE DUTCH HOTEL (1m,1f) Lady de Grey, patroness of the Royal Italian Opera, and Harry Cust, a newspaper editor who may be her lover, linger at the shore, full of suppressed regrets and dread, endure the ministrations of a sinister waiter and observe some unspeakable, ambiguous and possibly horrifying events transpiring near the edge of the sea.
PANTHER (1m) It's 1988, and John Rose, who has willed himself to live to be a hundred years old because he promised his beloved sister Jessie he would do so, sits on a fallen tree in the woods by the old Pendragon house where he was born and waits for the panther his sister always warned him about to come and get him.
MULBERRY STREET (1m) Ben, a man of 52, remembers his Italian immigrant grandfather's terrifying and haunting encounters one night outside his village in Italy and again, years later, in a dark stairway on Mulberry Street in Little Italy, New York, in the year 1903.
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| $99.99 | Digital |
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James Pinon
reviewed Gorgons and Other Plays on February 17, 2018
Gorgons and Other Plays
"How could you believe me'when I can't believe myself ? I've become such a liar."
Eugene O'Neill ~~ LONG DAY'S JOURNEY INTO NIGHT (IIii)
I believe Eugene O'Neill's LONG DAY'S JOURNEY INTO NIGHT to be the greatest American play ever written, as well as the greatest play of the 20th century. It fascinates me that as most playwright's talents wane as they age, O'Neill's grew stronger with each passing year. To have written LONG DAY'S JOURNEY INTO NIGHT, THE ICEMAN COMETH, A MOON FOR THE MISBEGOTTEN, and HUGHIE at the end of his life is a testament to his talent. Writing these plays must have been pure hell for O'Neill. He wrote in longhand, suffering a severe Parkinsons-like tremor in his hands which was extremely painful. It was impossible for him to write during the last 10 years of his life. I can only imagine the works he would have produced had this affliction not robbed us of his talent.
LONG DAY'S JOURNEY INTO NIGHT focuses on James Tyrone, an aging actor, Mary, his morphine-addicted wife, Edmund and Jamie, their two adult sons, both alcoholics.
Eugene O'Neill, his brother Jamie, and his father James on the porch of Monte Cristo Cottage in New London, their summer home.
Random thoughts ~~
LONG DAY'S JOURNEY INTO NIGHT is a ghost play; it is more memory than reality.
As the light moves from day to night during the course of this long painful day, the fog seems to seep through the walls.
The foghorn a constant reminder of old sorrows. As Mary says, "The past is the present, isn't it? It's the future, too." (IIii)
James & Mary Ella O'Neill, Eugene O'Neill's parents
LONG DAY'S JOURNEY INTO NIGHT is not a linear play. Yes, the action moves from day to night, but as the dialogue becomes fueled more and more by whiskey and morphine, the past is repeated over and over again, becoming more vicious, more accusatory.
There are four addicts living in this house, not one. But Mary's addiction leaves her isolated. Drinking is socially acceptable, drug addiction is not. Drug addiction is mysterious. Morphine separates Mary from her family. Mary's addiction is dirty.
Mary is a master of deceit. She even acknowledges this.
Each and everyone of the Tyrones is fascinating, and each is brilliantly written, complex and real. We know these people. Again, the past is the present.
Mary is the most fascinating of the Tyrones. She controls and manipulates every moment while she is on stage. Yet, Mary is barely in control of herself.
Mary is cruel in ways the others are not. She attacks like a cornered feline.
O'Neill's language, so simple, so powerful. As James says, Edmund does have a touch of the poet in him.
Eugene O'Neill
At the close of the play, all four of the Tyrones are still on stage lost in the past ~~ Mary's past.
"Then in the spring something happened to me. Yes, I remember. I fell in love with James Tyrone and was so happy for a time." (IV) It is one of the most beautiful moments in the history of theatre.
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