This production of Eugene O’Neill’s unflinching modern classic feels every one of its three-and-a-half hours
Brian Cox as James and Patricia Clarkson as Mary in ‘Long Day’s Journey into Night’ is mounting a benign takeover of the world’s premium centres of theatre. On Broadway, Jeremy Strong is starring in an Ibsen play, whereas here in London Sarah Snook has attracted a string of five-star reviews for her dazzling one-woman turn in, to take centre stage, in Eugene O’Neill’s unflinching modern classic about one family’s struggle with its multi-headed demons.
As James revisits childhood demons, Cox struggles to shift register sufficiently and convinces us a little less of the weight of the wounds he bears, especially in comparison to Clarkson’s deep mining of truth. That magnetic performer Kynaston beautifully captures young Edmund’s early-onset nihilism and aura of wasted potential, as the spectre of serious illness from tuberculosis looms.
Lizzie Clachan’s unlovely set of wood panels resembles an overgrown sauna, but is in keeping with Herrin’s admirable mission to interpolate no cheap flourishes of any kind into the production. All focus is on O’Neill’s mighty words about human fallibility, of how other people’s flaws and weaknesses always appear so much easier to fix than our own unquiet souls.
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