LONG DAY'S JOURNEY INTO NIGHT Previews — Page 5

"The production's least successful performance, early in previews, is Gallagher's. He's fine in the first three acts, if slightly invisible. But his bravura 4th act material is rather one note at this point, not varied or emotionally full enough in contrast to three actors who leave it all on the stage. "



This is very interesting to me, as I was just reading (or watching, can't recall) an interview with him about whenever he is on stage, he always is told to be bigger, and how he has felt more at home on film in the last few years in that way. I've never felt that way about his performances, but I think he is probably just readjusting to having to act to the back of the house, and that may be what you're seeing. I didn't find that the subtleties of his performances detracted from the production or the characterization, but I see your point. (though I disagree about act 4.)

Updated On: 4/14/16 at 09:26 AM

Whizzer: we're on the same page. I was up in the front mezz, very good seat house right, not too close to the wall at all, but assumed this downstage right blocking issue with Lange was only a problem upstairs. , Obviously a ridiculous assumption, now that you've posted. As I posted, I assumed it was almost intentional, as Mary shields herself for much of the first two acts. But clearly that's my projection, giving Kent too much credit. This is a problem. That wig was often my focus as well. The set design worked for me, but I wonder why he puts Mary in such consistently weakened positions on it, requiring her to turn three-quarter back to address anyone in the chair right of the table. Her downstage left perch forces her to keep her back to half the audience. These are smart folks, and I have to believe word will reach Kent and company during previews. This is not just a matter of a few people on the house right wall. The one thing it proves: Lange's vocal work, much discussed during "Streetcar," is exemplary. As little as I saw of her face until quite late, I heard every word. And her range, as noted by many in this thread, is quite beautiful. Yes, those low notes are scary and haunting. Injected glimmers of sober self-knowledge amid her flights of drug-fueled reverie.

Whizzer: I did! That was my first time seeing him onstage. He was fantastic (and I loved that production). Shannon's final monologue was astounding.

I unfortunately didn't like Grace at all and found his talents to be wasted (plus he was forced to hide behind that mask for most of the evening).



Have either of you seen Midnight Special yet? Another terrific film performance. He really is a special talent and I'm glad he appears to be equally devoting to film and stage work.

It’s exactly that quality that makes Shannon one of my favorite actors – and a quality I think every great actor possesses, though it isn’t limited to danger – just any kind of potential unpredictability. PSH and Burton and Sellers and Ledger had it. Streep, DDL, and Swinton have it. Brando and Pacino – at least in the first halves of their careers. It’s the acting equivalent of the tactic Sondheim describes using in composition as (I’m paraphrasing) “constantly surprising the ear.”



They generate a sense of immediacy by seeming like they could surprise even themselves at any given moment. My college acting teacher heavily emphasized this and described it, at its essence, as “discovering how to play again.” He had a story about Peter MacNicol as the only actor able to bring this quality into every rehearsal after the director started making weird demands on the cast. I loved that story because it codified why I always found MacNicol such a fascinating actor. He always exudes that unpredictable tension. It takes so much discipline but yields such wonderful results.

I had the opportunity to see the production again this past weekend, and do believe it is better and sharper than the first preview. I still have the same reservations about Lange's performance as I described earlier, but they are all deeper into their characters than the first week, and I will still be recommending this production.

Saw this last night, and I'm giving it a little bump. Runtime was 3:43 — first half about 90, 15-or-so minute intermission, then the rest. I was concerned about sitting that long (and, admittedly, the audience was a little more restless than I'm used to) but the last act flew by.

The woman next to me ate a turkey club during Act 2. I mean, come on. It's not THAT long, people.

John Gallagher(very sweet) and Michael Shannon came out last Wednesday

^ I've seen this production and know the theater well. In this case, I'd choose the $67 rear mezzanine seats. It's a small house, and all box (and far side) views for this staging are problematic. My two cents.

Lange's relationship to house right, including the front mezz, where I had superb seats, is a controversial topic. See above. Her performance is strong from wherever you are located; but expect to miss her face through (too) much of the first two and a half acts. I hope the press is seated in the middle, and imagine that the case.

^ I checked a half dozen dates in June before posting and there were $67 rear mezzanine seats available for all of them.

I sat in the 6th row orchestra, way house left, and I thought it was a pretty flawless view. I hadn't read this thread, and was surprised when I walked in that it looked like the set had been rotated to directly face my seat!



Echoing all of the Michael Shannon praise. I didn't really know him from other things and thought he was phenomenal. All five of them are giving a hell of a performance.