As I blogged here, I am an enormous fan of the playwright Eugene O’Neill. If I had to draw up a short list of a half dozen favorite playwrights, he would be on it, and near the top. He’s got his faults, but he’s got many more virtues. Unlike most people, I am more excited by his early work than his later stuff. The usual rusty old canard is that The Iceman Cometh and Long Day’s Journey Into Night are his great works, and everything else is so much embarrassment. Well, I have read everything — and by that I mean everything published — by O’Neill (and I’m here to tell you it’s a lot), and I am frankly much more excited by his Expressionistic work of the 1920s, and his very early experiments in naturalism…things like the Sea Plays, Anna Christie and the very obscure stuff that came before.
To my great joy Alex Roe is presenting a couple of those early plays at Metropolitan Playhouse even as we speak. I had the privilege of sitting in on a rehearsal the other day and I learned tons just by being in the room. I think Roe is one of the smartest theatre directors in Indie Theatre and he does work I place great stock in. The Metropolitan “matters” to me more than almost any other company I can name. Read more about the the O’Neill gems they have on the boards now in my feature in Chelsea Now here.