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Anna Christie (Classic Drama Series), by Eugene O'Neill
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Anna Christie is not who she appears to be. To barge captain Chris Christopherson, she is the Midwestern nurse his daughter has become since he last saw her as a five-year-old. Now she has come for a visit—perhaps to stay. To Irish sailor Mat Burke, Anna is the “fine, dacent” girl he desperately wants to marry. Anna’s mother, now dead, had brought her from Sweden to live with relatives on a Minnesota farm—a fine arrangement, her father thinks. That means she will be kept from the fate of her mother, married to an absentee sailor ensnared by the evils of the old devil sea. But Anna escapes the farm and its own evils, only to find other (but similar) evils in her brief time as a nurse. It is after that disappointment that she becomes not Anna Christopherson, but Anna Christie.
- Published on: 2015-01-12
- Original language: English
- Dimensions: 9.00" h x .19" w x 6.00" l,
- Binding: Paperback
- 84 pages
From Library Journal
This play by Nobel laureate O'Neill centers around Anna, a young woman who, after an illness, decides to spend some time with the father she knows only from occasional letters. While with him, a coal barge captain, she meets Matt, a sailor who's ready to settle down, and the two fall in love. Believing herself unworthy of happiness, Anna reveals secrets from her past that test both her father's and Matt's love. In this expert production, scenes are painted through dialog and the unobtrusive use of sound effects. The actors reveal vivid and distinct characters, and the listener never has to wonder who's speaking. Highly recommended to libraries that serve students and those who love theater.
-Adrienne Furness, Lockport P.L., NY
Copyright 2000 Reed Business Information, Inc.
Review
Eugene O Neill s 1922 Pulitzer Prize-winning drama (his second of four Pulitzers) may seem with its slangy dialects, a shade unsubtle to readers today. But listeners of the L.A. Theatre Works probably won t notice, thanks to this excellent, nuanced production. Stacy Keach emphasizes the likable, vulnerable side of a Swedish coal-barge captain reunited after 15 years with his daughter. Keach prevents the father from descending into caricature. Alison Elliot also avoids the stereotype inherent in her part as his man-hating prostitute daughter, and Dwier Brown conveys both innocence and scorn as a young Irish seaman. Atmospheric sound effects are laid in subtly. A saloon-and-sea drama, this early O Neill triumph has deservedly found a rich, new life. G.H. Winner of AUDIOFILE Earphones Award. --AudioFile Magazine
This play by Nobel laureate O'Neill centers around Anna, a young woman who, after an illness, decides to spend some time with the father she knows only from occasional letters. While with him, a coal barge captain, she meets Matt, a sailor who's ready to settle down, and the two fall in love. Believing herself unworthy of happiness, Anna reveals secrets from her past that test both her father's and Matt's love. In this expert production, scenes are painted through dialog and the unobtrusive use of sound effects. The actors reveal vivid and distinct characters, and the listener never has to wonder who's speaking. Highly recommended to libraries that serve students and those who love theater.--Adrienne Furness, --Library Journal
This play by Nobel laureate O'Neill centers around Anna, a young woman who, after an illness, decides to spend some time with the father she knows only from occasional letters. While with him, a coal barge captain, she meets Matt, a sailor who's ready to settle down, and the two fall in love. Believing herself unworthy of happiness, Anna reveals secrets from her past that test both her father's and Matt's love. In this expert production, scenes are painted through dialog and the unobtrusive use of sound effects. The actors reveal vivid and distinct characters, and the listener never has to wonder who's speaking. Highly recommended to libraries that serve students and those who love theater.--Adrienne Furness, --Library Journal
From the Inside Flap
The passion of a coal barge captain's daughter and a rough-hewn sailor takes a tumultuous turn when her secret past is revealed. Nobel laureate Eugene O'Neill won the second of his four Pulitzer Prizes for this heroic classic.
An L.A. Theatre Works full-cast performance starring:
Stacy Keach as Chris Christopherson
Alison Elliot as Anna Christopherson
Dwier Brown as Mat Burke
Scott Lowell as Larry
Alley Mills as Marthy Owen
Most helpful customer reviews
8 of 8 people found the following review helpful.
Anna is one of the U.S. theater's most memorable characters
By Michael J. Mazza
"Anna Christie," the play by the great U.S. writer Eugene O'Neill, won the Pulitzer Prize for the 1921-22 theater season. All these decades later, the play still packs an emotional punch. "Anna Christie" focuses on three characters: Anna, who has had a traumatic life in the United States; her father Chris, a Swedish merchant seaman; and Mat Burke, an Irish stoker who takes an interest in Anna. The play takes place in New York City and on Chris's barge.
"Anna Christie" is a compelling study of gender roles and expectations, ethnic conflict in the U.S., family ties and disruptions, the call of the seafaring life, and fatalism versus the embrace of free will. Particularly interesting is O'Neill's representation of various types of vernacular speech. Overall, a classic American play that deserves an ongoing reading audience.
2 of 2 people found the following review helpful.
The challenge ...
By Gio
... in staging Eugene O'Neil's 1920 drama "Anna Christie" is that it's a corny, dated melodrama. On the other hand, it's one of the best corny, dated melodramas in the repertoire. The language is undercooked. The central character Anna -- not Magdalena but close, a ruined woman of virtue -- is no longer plausible to psychologically sophisticated audiences. The drunken Swede, her father, with his vaudeville accent, and the roister-boister Irish sailor, her lover, with his brogue, are by now such overdrawn stereotypes that a modern viewer/reader will need to chuckle indulgently at the naivete of the American theater just ninety years ago. And then -- shades of Hell for a director in 2011! -- the play has a happy ending!
Any temptation to update the drama and pop the corn has to be resisted. "Anna Christie" is a period piece -- far more so than a Shakespeare comedy -- utterly time- and culture-bound. It's a porthole through which to view the mentality of America in its pre-modern rusticity. It needs to be corny because America in 1920 was all corn. It wants to be a melodrama because only melodrama seemed real to Americans then ... and I'm not sure much has changed in the worldview of Americans since. In short, dear director/producer, don't fight it! Play it as it is.
Perhaps that's why the 1930 adaptation of "Anna Christie" as a film was so paradigmatically perfect. It starred two veteran vaudeville exaggerators, George Marion as the sodden sailor father and Marie Dressler as his tramp trollop, along with Greta Garbo in her 'talkie' debut. Not only did Garbo come naturally to her Swedish accent but her human instincts were pure melodrama. The 'Magdalena' role of Anna Christie suited her perfectly because, I think, she "believed" in the archetype. Film-making in 1930, like the stage in 1920, was less than a generation past vaudeville, just emerging from the bombast and bathos of 19th Century theatrics. The script, the dramaturgy, the cinematography, and the acting styles are 'all of a piece.' Once again, dear viewer, don't fight it! Take it as it is!
2 of 2 people found the following review helpful.
O'Neill's first momentous play and its unforgettable heroine
By D. Cloyce Smith
With the 1921 production of "Anna Christie," O'Neill's skills as a dramatist finally reached maturity. Entirely revamped from an earlier play ("Chris Christophersen"), this four-act drama depicts a headstrong young woman, Anna, who renounces her life as a prostitute and tracks down the father who abandoned her as a child. Enamored of his new charge and unaware of her past, Christopherson (O'Neill changed the spelling for this version) tries to pamper and protect the daughter he had neglected during her formative years.
Yet Chistopherson has issues of his own: now a captain of a coastal coal barge, he, too, has lived a seafaring live of loose morals and social irresponsibility. Believing that the vigorous demands and easy temptations of a sailor's career have ruined his own life, he has abandoned the sea for good. Confronted with a daughter who initially enjoys life on the ocean, he swears to keep her both from its influence and from the men who make their living from it--with predictable results.
When Anna falls in love with Mat, a stoker for a steamer, she finds herself torn between her father's expectations and her lover's demands, and she discovers that both men, like the clients from her previous life, are buffoonish cads and patronizing bullies. The third act, which depicts the inevitable three-side confrontation between Anna and her two "protectors," is one of the most skillfully scripted clashes in American theater.
The final act, alas, succumbs to a conventional melodramatic mawkishness. Yet overall the play is saved by the faithful rendering of sailor's speech, the emotional depth of its characters, and the (for its time) forward-looking presentation of social ills.
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