by Eugene O'Neill
seen at the Almeida Theatre on 30 July 2025
Rebecca Frecknall directs Ruth Wilson as Josie Hogan, David Threlfall as her father Phil and Michael Shannon as James Tyrone, with Peter Corboy as Josie's brother Mike and Akie Kotabe as their neighbour T Stedman Harder in Eugene O'Neill's 1957 play about two young people so insecure that they are unable to admit their feelings for one another in any productive way.
Josie presents a transgressive front to hide her fears, while James tries to avoid his shames and self-loathing through massive alcohol consumption. This being an O'Neill play, alcohol figures prominently not only for James but also for Phil, an embittered Irish-American tenant farmer all too ready to drown his own sorrows and frustrations in drink. James Tyrone is, of course, the name of one of the two sons (and the father) in Long Day's Journey into Night, and though this character is not exactly the same person in the two plays, both share a tortured family history inspired by that of the playwright himself; in A Moon for the Misbegotten both James's parents are already dead.
The challenge is to render these characters believable and interesting despite their verbosity and inebriation, and both Michael Shannon and David Threlfall manage this tricky task with great skill, and in completely different ways: Shannon trying to be tight-lipped but occasionally permitting a despairing giggle; Threlfall clumsy in his movements, and hamming it up to a certain extent because Phil is probably not as drunk as he makes out to be. In the meantime Josie fends off her father's manipulations and warily engages with James Tyrone using a front of almost raucous bravado: her final relinquishment of any relationship with James, couched in rueful good wishes for his future, is painful to witness. Ruth Wilson, known in the past for portraying deeply repressed women with stillness and menace, here demonstrates a more brazen exterior, but the inner pain remains.
The Almeida stage was stripped back to reveal the brickwork at the rear, and most of the stage podium had also been removed to be replaced by dusty wood-floor areas on different levels, with all sorts of farming bric-a-brac - old planks, sheets of metal, implements - lying around: the chaos of the Hogans being both internal and external. With most of the action in the central part of the play taking place during a moonlit night, the atmosphere was almost derelict, and perfectly suited the action. Designers Tom Scutt (set) and Jack Knowles (lighting) made excellent use of the space available.
