Review of ‘A Moon for the Misbegotten’: “Star-studded London revival doesn’t gibbous all its heart”

The Almeida Theatre hosts the London revival of Eugene O’Neil’s stage classic — in a new production directed by Rebecca Frecknall and starring Michael Shannon and Ruth Wilson. Guillermo Nazara shares his views on the show — to let us know if this latest landing ends up feeling out of orbit.

Even the strongest-looking build their shields upon the shattered pieces they hold within. It’s never a wrong time to revise the frailness of the human condition through the eyes of the theatre. Add to the equation a scolding hot day in rural Connecticut for its setting and perform it during a ridiculously warm day in London, and the show’s resonance is guaranteed. If it’s for the right reasons, that’s another story to tell.

Eugene O’Neill’s classic play has returned for the summer — in a new star-studded production brought under the guidance of veteran director and reviver of the Kit Kat Klub (scared to use an acronym there), Rebecca Frecknall. Often regarded as an utter masterwork, some would beg to differ — arguing that its quality doesn’t match the standards of its elder brother, Long Day’s Journey. No matter where you stand, it’s undeniable that O’Neill’s signature ability to paint a truthful depiction of personal turmoil still permeates through this text. The production’s success at channelling it is a different subject.

There’s no question about the visual power that Frecknall, along with designer Tom Scutt, has brought to the narrative. Disposing of any traditional proscenium, the Almeida’s uneven brick walls create the basis for the setting’s cavernous ambience. Scattered all around, piles of wooden boards and ladders frame up its circular, tumbledown-looking stage — with no more props than a small pillar delineating the house’s entrance and a boudoir resting on the upper level. Crude and rotten at the same time, Scutt’s approach perfectly encapsulates the plot’s thematic path.

Jack Knowles’s lighting is another solid contributor to the performance’s impact. The simplicity of its colour palette exudes, however, precision and expertise — boasting refreshing skillfulness while building up both the narrative’s emotional and physical atmosphere. The use of two revolving spotlights, slowly spinning around the stage during the script’s most poignant moments, effectively enhances the gravitas of the rendition — while serving as a brand element that endows the production with an identity.

Despite these highlights, the experience is not as engaging as it should or could have been — leaving some of its potential in a latent state for the entire evening. Though this creative take accentuates some of the key excerpts with praiseworthy dexterity, some others lack that gripping factor almost entirely — deprived of the tools that form the spirit of the performance. There’s music, no lighting cues, no sense of dynamism of any kind. One might argue that it’s an intentional move to emphasize the personage’s overwhelming feeling of stagnation. But instead, that take comes off as slightly underdeveloped and flat.

As for the company, both David Threlfall and Ruth Wilson earn the highest mentions — delivering the most captivating portrayals as the volatile, alcoholic father, Phil Hogan, and his ill-tempered daughter, Josie. Their rapport, presence, and command of the script are truly refreshing — keeping their enticement throughout the performance, with the occasional exception of Wilson’s not-so-convincing handling of the character’s vulnerabilities.

We can’t say the same about Michael Shannon’s rendition as Josie’s love interest, James Tyrone, Jr. Though the role’s reserved nature is well internalized, his shortcomings in terms of depth and nuance prevent the personage’s plight from fully connecting with the viewer. As a result, the pathos that pours through O’Neill’s lines evaporates through a not-too-appealing execution that may aim at the heart but ends up going completely around it.

Setting up a canvas of crescent opportunities but missing more celestial strokes, the Almeida Theatre’s revival of A Moon for the Misbegotten brings both excellence and plainness to an almost equal level. Flaunting a robust basis but struggling to pull it all off, this latest production could still satisfy even some of the play’s strictest connoisseurs despite not reaching the apogee. Yet, it is unlikely it will eclipse its previous incarnations.

All pictures credit to Marc Brenner.

A Moon for the Misbegotten plays at London’s Almeida Theatre until 16 August. Tickets are available on the following link.

By Guillermo Nazara