Closed 3h 30m
Long Day's Journey Into Night (BAM)
Brooklyn
82

Long Day's Journey Into Night (BAM) NYC Reviews and Tickets

82%
(65 Reviews)
Positive
85%
Mixed
12%
Negative
3%
Members say
Great acting, Absorbing, Great writing, Intense, Intelligent

About the Show

The Bristol Old Vic’s staging of Eugene O’Neill’s searing autobiographical family portrait comes to BAM starring celebrated and screen actor Jeremy Irons ('The Borgias') as whiskey-soaked patriarch James Tyrone.

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Member Reviews (65)

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88
Absorbing, Great acting, Great staging, Masterful, Intense

See it if you're an O'Neill fan, enjoy great acting, for a clear understanding of a classic play, feel the New England setting & the caustic wit

Don't see it if 3 hrs, 20 mins seems too long for you, O'Neill bores you, hopelessness upsets you, don't like a lot of repetition for character development

90
Entertaining, Great acting, Thought-provoking, Slow, Great writing

See it if great acting the whole cast, funny at part and touching story of a family with problems.

Don't see it if At time very sad about drinking, drug addicts. 3 1/2 hours long. Read more

Critic Reviews (28)

May 13th, 2018

"This 'Journey' is often downright sprightly. That doesn’t mean that after three-and-half hours in the company of the Tyrones you don’t still feel numb with fatigue...For a while, it’s a gripping, oddly enjoyable approach...In the play’s second half...the action slows down to allow each character an aria of self-explanation. And it’s then you begin to sense that something’s off-kilter in this production. Could these people really be members of the same family, or even the same play?"
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May 13th, 2018

"There are big-ticket plays that terrify their actors; famous stars who fluster their colleagues; massive sets that turn environments from living things into monuments. The Bristol Old Vic’s 'Long Day’s Journey Into Night' manages to have all three problems at once in the blustery, muddled production now at BAM, where the show’s three and half hours lumber very slowly by...Although Manville and Irons find wonderful moments, the play as a whole keeps staggering."
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May 13th, 2018

"Featuring underwhelming starring performances by Jeremy Irons and Lesley Manville...The show is startlingly lifeless, the majority of its potential tragic power sacrificed to mannered, unvaried performances that seldom make the dive into anything resembling emotional truth...It’s all breathtakingly pretty — and hugely distracting. Rather than a space in which an emotionally dropped-in story can play out, the set feels like an excited intellectual exercise."
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May 13th, 2018

"The scathing autobiographical honesty and desolation of the playwright’s masterpiece...Manville, especially, brings that heartbroken quality to the fore in a wrenching performance...A mesmerizing symphony of rambling, barely disguised resentments and outbursts of flashing anger...Irons matches her step-by-step, his terrific portrayal of James moving sure-footedly...In this production, only Keenan, as the drunken, brothel-going elder brother, falls short."
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May 13th, 2018

"Eyre’s mixed bag of a revival, one alternately engrossing and overly wound up, and in any case, disappointingly, never a soul-shatterer. The absorbing aspects have mostly to do with the motivations and interactions of Irons’s James and Manville’s Mary...It rarely has been as clear as in the way Irons and Manville impress it upon us the depths of James’s and Mary’s narcissism, how their lifelong fixations on their own stunted childhoods have rendered them incapable of nurturing anyone else."
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May 14th, 2018

"Their performances brim with anguish and gritty realism, while Eyre's direction adds a dreamlike patina to this story...Irons's performance is notable for capturing the silent gestures buried in O'Neill's work that only a great actor could tease out...Though Eyre's direction keeps the action moving despite voluminous passages of dialogue, the play's second half sputters during the long scene between Edmund and James...Fortunately, this production does not drift."
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May 14th, 2018

"If Eyre has guided Manville and Irons into giving performances that surely must rank among their best, he hasn't done as well by the younger generation of Tyrones...This is not the most accomplished production of 'Long Day's Journey Into Night' to come our way in recent years, but anyone who loves this piece -- one of American drama's very few masterpieces -- will be fascinated by the way Manville and Irons inhabit their characters' darkest corners."
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May 12th, 2018

"It could be said that 'Long Day’s Journey Into Night' is the absolute quintessential American play—the greatest of all 20th-century American plays...Manville seizes the opportunity to turn Mary into a tour de force of unmitigated anxiety. And appreciative nods to Irons—who looks like Eugene O’Neill (!)—for giving a typically generous on-the-mark performance. Is Eyre’s meeting with O’Neill perfect? It’s a close as anyone might want. Nothing seems missing."
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May 13th, 2018

"I’ve never seen a more loving portrayal of Mary Tyrone than Manville’s...What’s most impressive about Manville’s performance—and it is an extremely impressive performance—is her ever-so-subtle transformation from fresh-from-the-sanatorium recovering addict into drug-dependent shell of a woman...Inevitably, the energy flags when Manville is off-stage. Though it’s undeniably fun listening to Irons do Tyrone’s foreign-authors rant."
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May 18th, 2018

“Irons’ American accent is atrocious...The leading man’s shaky accent keeps pulling you out of the world of the play. It contributes to an overall tonal incoherence in this production, staged a bit too broadly...The ensemble members seem to be in different plays...Almost resembles a period sitcom, with members of a dysfunctional family sniping amusingly at each other...The one unambiguous triumph is Manville.”
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May 22nd, 2018

"'Long Day's Journey into Night,' which has been called America's greatest play, has had two other major New York productions since 2003… However, that the play reveals so many different facets in each version tells you how great a play it is. Irons, Manville and company have a myriad of things to show us in this magnum opus… And in Manville's performances, she reaches the heights of the dramatic art: you never feel that she is acting for one moment but has become Mary Tyrone."
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May 15th, 2018

"Do we need another 'Long Day's Journey' just two years after Jonathan Kent's acclaimed Broadway revival with Jessica Lange and Gabriel Byrne? The answer is yes and the principal reason is Manville's complex, insightful interpretation of Mary...Hers is the least stagy, most convincing performance one is likely to see, with no concessions to vanity or interpretive innovation...The three men surrounding Manville tackle their roles from disparate and somewhat incompatible angles."
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May 15th, 2018

"The four lumber forward, each getting their moment in the spotlight to illuminate their pathetic and self-defeating mindsets, fluctuating between moments of tenderness and affection with resentments and outwardly hostile blame. The moments are staggering and generally authentically delivered, but the minutes start to feel like hours, and I can’t help but secretly hold my breath waiting for Mary to reenter and give her final monologue, signaling the end."
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May 16th, 2018

"A dreamy, vortex-like quality presides...extends beyond the physical production to the performances, especially Lesley Manville’s feverishly brilliant portrayal of Mary...Considering the nearly three-and-a-half-hour running time, director Eyre keeps scenes moving at a sprightly pace as characters lash out at one another and retreat to their respective corners...If there’s a reason to see this 'Long Day’s Journey,' it’s to watch Ms. Manville transform."
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May 12th, 2018

"O’Neill’s domestic dance feels like a literal dance at times in this version...The distinctive touches of the production, some at variance with the playwright’s conception, don’t wind up seriously detracting from what most matters...The play is a powerful and insightful tragedy that painfully reveals the specific regrets, disappointments and self-loathing of a damaged family...For me the production at BAM suffers for coming just two years after that Broadway production starring Jessica Lange."
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May 16th, 2018

"Eyre’s production plays so grippingly that it's never a slog...Each repetition...rings true, and many of them prove comical...The crucial role in any production is Mary...Manville is superb, from her pitch-perfect American accent to the way she veers from worry to delight, to petulance, to any other emotion you’d care to name...This production induces a warmth and affection toward its characters, especially Manville’s Mary, that promise a memorable experience."
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T
May 21st, 2018

“Eyre’s deeply intimate staging of O’Neill’s autobiographical masterpiece...A stunning, slightly amended production...Howell’s set is staggeringly breathtaking...Eyre focuses on conversations between two characters, making it feel like we are invading their privacy, intruding on this dysfunctional family...The cast is exceptional, led by a brilliant performance by Manville...As dark as the play is, Eyre holds out just enough hope that this time things will turn around for the Tyrones.”
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May 21st, 2018

“A fervent depiction of a love-hate relationship among a family of four, a kind of intense ping-pong game for the production’s three-and-a-half hours on stage...The text of the play arguably compares to opera...The work presents an authentic human tragedy...Irons does a fine job as the family patriarch, against tough odds. Manville’s early scenes display an uncomfortable sing-song-y vocal pattern, but smooths out as the play ensues.”
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February 7th, 2018
For a previous production

"There are nagging weaknesses in this three-hours-plus psychodrama that detract from the sweaty, malignant, wrenching emotional intensity of O'Neill's poetry-drenched prose...Much of the blame lies with the casting of Irons...Tyrone is no one-dimensional tyrant but a flawed, disappointed patriarch...Thankfully, Manville is far more compelling...She blows Irons off the stage...A rich feast of a production which is only partially ruined by having a thick slice of boiled ham at its center."
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February 6th, 2018
For a previous production

"A rhythm that allows us to feel that we are living, like the Tyrone family, through a day and a night of alternating hope and despair. What never ceases to astonish is the dizzying emotional contradiction of O’Neill’s characters...They bounce around like pinballs between reality and illusion...A play that if well done, as it is here, leaves you emotionally pulverised by the feeling that O’Neill, in providing an unsparing portrait of his family, is seeking their posthumous forgiveness."
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February 7th, 2018
For a previous production

"Eyre’s deluxe revival of O’Neill’s immense, autobiographically rooted drama...Irons gives the impression of a forlorn, sniping, refined man about the house rather than a prowling, growling survivor of too many nights on the road...The most palpably searing emotional intensity is supplied by Lesley Manville...One of the 20th century’s defining dramas of American dreams and disappointments...O’Neill forges a deeper, tragic sense of handed-on misery, an inescapable inheritance."
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February 7th, 2018
For a previous production

"Eyre’s revival...is shatteringly good. After three-and-half-hours...you emerge drained but in that state of elation to which only true tragedy, confronted searchingly and honesty, can bring you...Eyre conducts the piece with a masterly touch, its repetitions...coming across like the emotionally incremental recapitulations in a great piece of music...The production is wonderfully alert to the way that the characters swing on an axis between love and hate...An unmissable masterpiece."
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February 7th, 2018
For a previous production

"Irons elishes the actorly excesses of Tyrone — and mixes his cigar-chomping dynamism with scowling attentiveness and a wintry disappointment...Manville’s interpretation is finely detailed and compassionate...In Richard Eyre’s production...this sprawling drama feels pacier than usual, though it still weighs in at three and a half hours. It remains a gruelling experience but has a naked emotional power that's genuinely absorbing."
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February 8th, 2018
For a previous production

"Though it is inexpressibly sad, Richard Eyre’s beautifully judged production also shows us how much love courses through this unsparing portrait of damaged, damaging people...At its heart is Mary...Manville is superb in the role, bringing exquisite detail and depth...Guilt, recrimination, remorse and self-defence roll around the stage, but as night wears on, flashes of truth and tender understanding pierce the gloom."
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February 7th, 2018
For a previous production

"I was in tears at the end of this astonishing production...That's partly because it is such a great play...Eyre has taken a classic, written in 1941, and treated it as a new play, stripping away all previous conceptions. Thanks to a quartet of magnificent performances led by Manville and Irons, it finds a freshness and directness that touches to the heart...Eyre makes the dialogue whip along. It has the thrust and speed of real family life. But he gives weight to words and meanings."
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T
February 7th, 2018
For a previous production

"The genius of the play, brought out with luminous wit and warmth in Richard Eyre’s production, is how so much fury is wrapped in so much fondness...Eyre ensures that this quartet have the mutual ease as well as the mutual enmity of a real family. They loathe each other, they love each other, then it’s dinnertime. It’s a long night, but an electrifying one."
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February 9th, 2018
For a previous production

"At three-and-a-half hours, it is a daunting prospect but Richard Eyre’s production ensures maximum engagement...Manville is magnificent, wandering around like a ghost or the Woman In White as she shuttles between unnatural sprightliness and despair at the downward spiral of her life...The family bonds of suffering, contempt and love are stretched, and strained almost to breaking point. Almost but not quite. If nothing else their codependency is unbreakable. A long night but a great one."
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February 7th, 2018
For a previous production

"In Eyre’s painfully intense production, these troubled figures are resurrected with both unsparing naturalism and just enough tenderness to make their flaws all the more painful...O’Neill’s writing repeats itself, circles in on itself, obsessively picks away at the same old scabs...But this quality is also the source of its horribly uncomfortable power...Eyre’s approach makes the family home a permeable place...A decision that emphasises the unsatisfactoriness of this home."
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