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Hughie dir. by Doug Hughes (review)

Hughie dir. by Doug Hughes (review) HUGHIE dI reCTed BY doUg HUgHe S, SHAKeSP eAre THeATre CoMPANY, wASHINgToN, dC, JANUArY 31­MAr CH 17, 2013 Eugene O'Neill's brief 1942 letter to George Jean Nathan is the standard touchstone for reviews and analyses of the one-act Hughie, and its ubiquity is understandable. The two-character, three-o'clock-in-the-morning drama about a melancholy Broadway sport and a taciturn night clerk was never produced in O'Neill's lifetime, leaving a regrettable void of documentation-- neither grousing nor gratitude from the dramatist about problems solved or worsened as the work got on its feet. Additionally, the script has a conspicuous tic: the Night Clerk barely speaks, yet he is given a near-riot of written articulation in the form of unspoken stage directions. As Erie Smith, the voluble small-time hustler, waxes on about his mock triumphs and paralyzing regrets while memorializing the recently deceased Hughie, the hotel's previous night clerk, the stage directions read, "The Clerk's mind has slipped away to the clanging bounce of garbage cans in the outer night. He is thinking: A job I'd like. I'd bang those cans louder than they do! I'd wake up the whole damned city!" It is a characteristic description, tantalizing in its clarity--but how to http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Eugene O'Neill Review Penn State University Press

Hughie dir. by Doug Hughes (review)

Pressley, Nelson.
Eugene O'Neill Review , Volume 34 (2) – Sep 11, 2013
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Publisher
Penn State University Press
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Copyright © The Pennsylvania State University
ISSN
2161-4318
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Abstract

HUGHIE dI reCTed BY doUg HUgHe S, SHAKeSP eAre THeATre CoMPANY, wASHINgToN, dC, JANUArY 31­MAr CH 17, 2013 Eugene O'Neill's brief 1942 letter to George Jean Nathan is the standard touchstone for reviews and analyses of the one-act Hughie, and its ubiquity is understandable. The two-character, three-o'clock-in-the-morning drama about a melancholy Broadway sport and a taciturn night clerk was never produced in O'Neill's lifetime, leaving a regrettable void of documentation-- neither grousing nor gratitude from the dramatist about problems solved or worsened as the work got on its feet. Additionally, the script has a conspicuous tic: the Night Clerk barely speaks, yet he is given a near-riot of written articulation in the form of unspoken stage directions. As Erie Smith, the voluble small-time hustler, waxes on about his mock triumphs and paralyzing regrets while memorializing the recently deceased Hughie, the hotel's previous night clerk, the stage directions read, "The Clerk's mind has slipped away to the clanging bounce of garbage cans in the outer night. He is thinking: A job I'd like. I'd bang those cans louder than they do! I'd wake up the whole damned city!" It is a characteristic description, tantalizing in its clarity--but how to

Journal

Eugene O'Neill Review – Penn State University Press

Published: Sep 11, 2013

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