The Washington times., 1928-12-13
IGLEANI INGS|
AND
SCR EE;N NINGS
A. ANDREW R. KELLEY

WntG ITlCUGS anu = GO-WOA MI AZ
the Theater Guild garden OF
successes IS in town to prepare
the multitude for the approach
ing of Strange Interlude. "
He is Bernard Simon, and
when / tell you that Playwright
O'Neill recognized him as the
only an1anuensis who. can de-
cipher the fine writings Of his
original manuscript, it is easy to
conceive why the author con-
siders him q very handy man
to have around when there are
plays to be prepared for pro-
ducers. Mr.. Simon worked with
O'Neill preparing " Marcos Mil
lions, and enthuses vet over
the brilliant words he clicked
off on the typewriter, to later
see acted by the Guild touring
company.
"Mr. O'Neill is in China now,
very i'll, according to the meager
cables, and his friends are ter
ribly concerned over his health,
said Agent Simon. It appears
that in his younger days, O'NeiH
developed tubercular tendencies.
The lung trouble was believed
to have been arrested, but the
present illness has aroused q
suspicion that possibly, through
exposure on his trip arounc the
world, he may have suffered
relapse. At any rate. the Thea
ter Guild has commissioned
trusted agents abroad to see
that the playwright is given
every attention and to induce
him. If possible, to abandon his
tour.
Eugene O'NeiII enjoys such
financial affluence that he need
not be disturbed by any delay
in his royalty checks. His pres
ent earnings from Guild per-
f0rmances are over $4,000
week but the playwright lets
them accumulate. His father,
the late James O'Neill, rolled
up an immense fortune as q
stage star and most of this
was bequeathed to his talented
son. 1t is interesting to note
that the famous hero of Count
Of Monte Cristo'' always felt.
that his son was q little "queer"
during the growing-up period.
OF course, before his death, he
realized the writing genius Of
the sensitive boy was winning
the worlds attention.
Strange Interlude,' now ac-
cepted as O'NeilPs greatest
play, was never looked upon as
having the elements for sensa-
tiOnal success before it was
produced. At first the novelty
of play that began at $50 in
the afternoon and let down the
exit curtain at 11:15 p. m. was
expected to excite interest. Al
nine-act play was an innova-
tion. The constant use Of long
sides or the voicing Of mental
soliloquies was another unusual
feature not exactly a new play
technique, but one that had
been used sparingly by stage
authors. O'Neill used it through
out his nine acts. The public
began to come in droves and
not since the opening night,
January 80, 1928, has there been
a vacant seat at the John
Golden Theater. When minis
tiers and rabbis began to lee
ture upon it and the columnists
seized the play as a topic for
comment the discussion only
served to cement an established
success. The story that it is
freak show has died down.
Rather is it taken as an un-
usual and powerful drama.
/ witnessed the play on the
hottest of July days and what
impressed me in the audience re-
ception was that even the sew
eral rows of standees in the
rear of the theater remained
until the bows were taken at
the close of the performance.
O'Neill spent more than two
years in the writing of Strange
Interlude." The Guild acquired
the play when only six acts
were completed. 1t was begun
and finished at the Bermuda
home of the playwright, Spit
head. The necessary revision
was done in New York during
the long rehearsal period and
it excited much comment before
the curtain actually arose. Alex
ander Woolcott criticized it so
severely in manuscript it was
decided by his paper he could
hardly be an impartial critic for
the premiere performance. On
the other hand, George Jean
Nathan pronounced it superb
play; as great a play as the
world had seen in years. The
public has supported Nathan
rather than Woolcott.
Has O'Neill reached the peak
of his career? None of his
friends think so. He is work
ing away at new plays and just
turned 40, and his most produc-
tive years are believed just
ahead. He has been writing for
ID years but is so shy, retiring
and nervous that he never APP
pears on the opening night of
his new plays. Nor for that
matter after they are estab-
lished as hits.
On one of the few occasions
in which O'Neill let the public
in on his plans he said: II in
tend to use whatever can