Eugene O’Neill changed the course of American playwriting, his works blending muscular stories with delicate poetry. One of the best examples of that blend can be found in his “A Moon for the Misbegotten,” which the Heritage-O’Neill Theatre has chosen to open its season. The play examines questions of class, character and emotional entanglement by looking at the relationships of a blustering, hard-drinking tenant farmer, Phil Hogan (Dexter Hamlett), his daughter, Josie (Lisa Hodsoll), and the ex-actor who owns their farm, James Tyrone Jr. (Sean Coe).
Josie and James are attracted to one another but keep each other at arm’s length. Described by her creator as “oversize,” Josie’s references to herself reveal insecurity. James’ insecurity has to do with his alcoholism, his inability to commit to anything beyond hanging out with his Broadway pals.
| Onstage |
| ‘A Moon for the Misbegotten’ |
| Where: The Heritage-O’Neill Theatre Company, 4010 Randolph Rd., Silver Spring |
| When: Thursdays through Saturdays through October 22 |
| Info: $26-$32; 301-770-9080; theheritagetheatre.org |
Hodsoll perfectly captures the complexity O’Neill built into one of his most fascinating characters. She is simple, direct, down-to-earth and unapologetically rough-hewn on the outside. But her inner nature is quite different. In the first scene with her brother Mike (Jesse Baskin), who is running away from the farm to escape his father, Hodsoll reveals the sensitivity and sympathy that exist under Josie’s gruff exterior.
Hodsoll’s scenes with Phil and James also express her understanding of Josie’s depth and complicated personality. Hodsoll’s very presence is enhanced by the fact that she is a slender woman. In her flawless, energetic performance, she makes Josie’s self-criticism about her physical appearance appear quite credible. It’s Josie’s soul that is outsize, not her body.
Sean Coe is less successful as James, an equally difficult part, full of statements, retractions, counter-retractions, emotional turmoil and angst throughout. But it is not until the end of the play, where James and Josie wait together for the dawn to break, when James bares his soul and confesses his guilt about his past, that Coe fully inhabits the roller coaster of James’ spirit.
Dexter Hamlett stepped into the role of Josie’s father just before opening and his performance is not as polished as it might be, but he does exhibit the impish wit O’Neill packed into that role.
Director Karey Faulkner keeps the production moving at a sensible pace, emphasizing Hodsoll’s lightness of spirit as a counterbalance to the gravity that is an essential element of “A Moon for the Misbegotten.” Benjamin Fan’s subtle lighting is exquisite and Fan’s set creates the right mood with just a few select details: fresh hay, a real dying plant in a real terra-cotta pot. It’s the perfect setting for a play in which the characters must find their true selves.
