Long Day's Journey into Night NYC Reviews and Tickets
About the Show
Show-Score Member Reviews (436)
See it if You like intensity and family drama. A classic by a great American playwright who bares his soul. Still current today.
Don't see it if You expect a happy musical with a fairytale ending.
See it if you want to experience a classic play & appreciate life struggles. Excellent acting makes time dissappear as you are immersed in the story.
Don't see it if 3 hrs 45 mins of challenging family drama has no possibility of engaging your mind or if you enjoy ONLY light plays with happy engings.
See it if You want to see the best acting on Broadway @ the moment. A classic that plays as well now as it has in the past.
Don't see it if N/A
See it if Are a human being who understands good theatre
Don't see it if If you can't sit still for 4 hours
See it if Well worth the 4 hrs. - autobiographical portrait of O'Neil's tragic family dynamics & addiction, alcoholism in 1912. Epic acting by all.
Don't see it if I was apprehensive of my ability to sit through a 4 hr. play, but the amazing acting, particularly Lange, Byrne & Shannon make it a must-see
See it if You like Eugene O'Neill and want to see some of the finest actors in the world at the top of their game
Don't see it if You have a short attention span, get restless easily, need to check your phone periodically or don't know that the show is four hours long
See it if You love great writing and superb acting and absorbing story of classical dis functional family.
Don't see it if You really can't sit for almost 4 hours.- although it doesn't feel quite that long.
See it if You want to see one of the best American plays of all time, with great actors at the top of their form, and an exquisite set/lighting design
Don't see it if You complain, "It's too loooong." Put down your stupid phone, get off twitter and Instagram, because attention must be paid.
Critic Reviews (41)
"Kent’s new production feels weathered instead of raw, hollow instead of potent…Jessica Lange has a masterful grasp of her character’s fragility...There is a surprising distance and disconnect — between the actors and their characters, between the actors and the audience...Do the actors admire O’Neill’s words and feel honored to be saying them, but don’t necessarily believe in them?...This might be the first major Broadway production that feels old."
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"I found it hard to believe that the characters were even related...The effect of this shifting character balance is a smaller play about addiction and its repercussions in the home. O'Neill knew alcoholics the way Wordsworth knew daffodils, but he didn't write a 12-step drama…If great ensembles are a credit to their directors, ineffective ones point to where the blame should be laid.…This O'Neill outing felt like an endless exercise in Beckettian waiting."
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"A strong revival of the four-hour tragedy staged by English director Jonathan Kent and led by a powerful quartet of actors…This is an extremely difficult play to pull off, relying on rich prose instead of overt action and featuring miserable characters basking in overwhelming despair. The performances here are exceptional all around, but the production is likely to grow smoother and more engrossing as the run continues. The stylized and spare set design is distracting and looks incomplete."
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"Jonathan Kent’s immaculate production starring Jessica Lange leading a glorious ensemble, is riveting from start to finish…Our hearts bleed for Lange's Mary Tyrone...She is hauntingly radiant. The beauty of this production is the perfect balance - both in the writing and performances - that speaks to the emotional interdependence defining so many American families. Like the scarred Tyrones, we fight, we cry, we love and amid all the sadness, we manage to survive."
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"A magnificent production…Director Jonathan Kent and an extraordinary cast led by Jessica Lange and Gabriel Byrne have achieved a masterful staging of the undisputed classic…It's Shannon, though, with a growling New York accent, who torches the stage in a blistering fourth-act tour de force…Kent's production runs three hours and forty-five minutes, yet his nimble pacing mostly dissolves all sense of time right through to the last word."
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“I've seen several fine productions of ‘Long Day's Journey’, but never have the characters' savage emotions percolated so close to the surface....At the American Airlines these nights, the characters' fury is red hot, their sorrows so corrosive that of course they grab desperately at anything to dull the pain. This may or may not be the best version I've seen, but it is certainly the most immediate. These Tyrones know where each other's scar tissue is, and they aren't afraid to probe it.”
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"You're catapulted on less of a roller-coaster ride of feeling than is sometimes the case, and because that can be a major source of exhilaration, the final product may not satisfy everyone. But everything is here and, within these strictures, just about everything works. This is especially true of Lange, who's superb as Mary...It's a testament to both the play and Kent's treatment of it that these stumbles cannot stop this production from landing with full hurricane force."
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"Not only has director Jonathan Kent assembled such a dynamic cast and achieved titanic performances from them, he has staged everything with geometric preciseness…For a play of such length the pace is as swift as possible utilizing overlapping dialogue and overall seamlessness…The Tyrones’ unhappiness is specific yet timelessly universal. That’s why the play enduringly resonates and this revival magnificently affirms that."
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