Eugene O'Neill: A Life in Four Acts

by Robert M. Dowling

  Brown, Susan Jenkins, (i)

  Bryant, Louise: Agnes Boulton and, (i), (ii); The Game production, (i); marriage, (i); O’Neill affair with, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix), (x), (xi)n47; O’Neill productions and, (i), (ii), (iii); as war journalist, (i), (ii)

  Bryer, Jackson R., (i)

  Buenos Aires, (i)

  Bull, John, (i)

  Burns, Ric, (i)

  Burt, Frederick, (i)n11

  Burton, Barbara “Cookie” (stepdaughter by Agnes Boulton), (i), (ii), (iii)

  Buss, Kate, (i)

  Byth, James Findlater, (i), (ii), (iii), (iv), (v), (vi)

  “By Way of Obit” one-act series (begun 1942), (i)

  Caldwell, Erskine, (i)

  Caldwell, Jane, (i), (ii)

  Cap-d’Ail (France), (i)

  Čapek, Karel, (i)

  Carlin, Terry, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix), (x), (xi)n3

  Casa Genotta (Georgia), (i), (ii), (iii), (iv), (v), (vi), (vii)

  Casey, Walter “Ice,” (i), (ii), (iii)

  Casseres, Benjamin De, (i), (ii)

  Catholicism: All God’s Chillun and, (i); Anna Christopherson as non-Catholic, (i); Days Without End and, (i); drug addiction of Ella and, (i); in Hairy Ape, (i); Irish ethnic and class prejudice and, (i); in Long Day’s Journey, (i); in Moon for the Misbegotten, (i); O’Neill spiritual struggles, (i), (ii). See also atheism

  Cawein, Madison, (i)

  Cerf, Bennett, (i), (ii), (iii), (iv)

  Chains of Dew (Glaspell), (i)

  Chaplin, Charlie, (i), (ii), (iii), (iv), (v)

  Chaplin, Eugene (granddaughter), (i)

  Chapman, Cynthia (daughter-in-law by Carlotta Monterey), (i), (ii), (iii), (iv), (v), (vi), (vii)

  Chapman, John, (i)

  Château du Plessis (France), (i), (ii), (iii), (iv), (v)n78

  Children of the Sea (1914), (i), (ii). See also Bound East for Cardiff

  Chris (production title of Chris Christopherson). See Chris Christophersen

  Chris Christophersen (1919), (i), (ii), (iii), (iv), (v), (vi), (vii), (viii)

  cinema: Hollywood studio system, (i), (ii); Ingrid Bergman encounter and, (i); The Life of General Villa (Aitken), (i); Monte Cristo film adaptation, (i); Reds depiction of Louise Bryant affair, (i); “talkies” development, (i), (ii)

  —adaptations: Ah, Wilderness! (i), (ii), (iii)n161; “Anna Christie,” (i); The Emperor Jones, (i), (ii), (iii)n242; The Hairy Ape, (i), (ii); The Long Voyage Home, (i), (ii)n137; Strange Interlude, (i), (ii)

  Clark, Barrett H., (i), (ii), (iii), (iv), (v), (vi), (vii)

  Clark, Fifine “Gaga,” (i), (ii), (iii), (iv)

  Clark, Mary A., (i), (ii), (iii)

  class: Emperor Jones philosophical anarchism and, (i); Hairy Ape IWW references, (i); interclass romance, (i); Marco Millions class satire, (i); New London class tensions, (i); O’Neill money-obsessed characters, (i); working class representations, (i), (ii), (iii). See also philosophical anarchism; radicalism

  classical drama, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii)

  Close the Book (Glaspell), (i)

  Clurman, Harold, (i)

  Cody, William F. Col. “Buffalo Bill,” (i), (ii)

  Cohan, George M., (i)

  Coleman, Alta M., (i)

  Coleridge, Samuel Taylor, (i)

  Collins, Hutchinson, (i), (ii), (iii)

  Collins, Mabel, (i), (ii)

  Commins, Saxe, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix), (x), (xi)

  Communism, (i), (ii)

  Condon, James J. (Jimmy the Priest), (i), (ii)

  Connell, Leigh, (i)

  Connor, William, (i)

  Conrad, Joseph, (i)

  Constancy (Boyce), (i), (ii)

  Cook, George “Jig” Cram: acting roles, (i), (ii), (iii); death, (i), (ii); fusion of theatrical elements approach, (i); at O’Neill audition, (i); as O’Neill director, (i), (ii), (iii), (iv), (v)n245; as O’Neill drinking partner, (i), (ii); Provincetown lifestyle, (i), (ii); Provincetown Players disbanding and, (i), (ii); The Spring writing, (i); theatrical ambition and facility, (i); Washington Square Players, (i), (ii), (iii)

  Coolidge, Calvin, (i)

  Corley, Donald, (i), (ii)n165

  Cowley, Malcolm, (i), (ii)

  Crane, Hart, (i), (ii), (iii), (iv)nn11

  Crane, Stephen, (i), (ii)

  Croak, Jack, (i)

  Crothers, Rachel, (i)

  Cummings, E. E., (i)n73

  Cuthbert, Alice, (i)

  Dafoe, Willem, (i)n7

  Day, Dorothy, (i), (ii), (iii), (iv)n95

  Days Without End (1933), (i), (ii), (iii), (iv), (v), (vi), (vii)

  Dear Doctor (1914), (i)

  Deeter, Jasper, (i), (ii)

  Dell, Floyd, (i)

  Dennehy, Brian, (i)

  Desire Under the Elms (1924), (i), (ii), (iii), (iv), (v), (vi), (vii), (viii)

  Dewhurst, Colleen, (i)

  Diff’rent (1920), (i), (ii), (iii), (iv)

  Dillman, Bradford, (i)

  Dodge, Mabel, (i), (ii), (iii), (iv), (v), (vi)n47

  Dolan, John “Dirty,” (i), (ii)

  Donnelly, Gerard B., (i)

  Dorsey, Tom, (i)

  Dos Passos, John, (i), (ii)

  Dostoyevsky, Fyodor, (i), (ii)

  Dowling, Eddie, (i)

  Dreamy Kid, The (1918), (i), (ii), (iii), (iv)

  Dreiser, Theodore, (i), (ii), (iii), (iv), (v), (vi), (vii)n5

  Drinkwater, John, (i)

  Driscoll, (i), (ii)

  Druilard, Jack, (i)

  Du Bois, W. E. B., (i)

  Dynamo (1928), (i), (ii), (iii), (iv), (v), (vi)

  Eakins, Thomas, (i), (ii)

  Eastman, Max, (i), (ii)

  Eldridge, Florence, (i)

  Eliot, T. S., (i)

  Ell, Christine, (i), (ii), (iii), (iv)

  Ell, Louis, (i)

  Ellis, Charles, (i), (ii)

  Emperor Jones, The (1920): class themes, (i); expressionism and, (i); film version, (i), (ii), (iii)n242; Gilpin in, (i), (ii), (iii); Langston Hughes and, (i)n268; operatic production, (i); parody of, (i); plot, (i); production, (i), (ii), (iii), (iv), (v), (vi)n245, (vii)n116; racial themes, (i), (ii), (iii), (iv), (v)n116; as radical play, (i); reviews, (i); Robeson in, (i), (ii), (iii); use of masks, (i); writing of, (i), (ii)

  Ervine, St. John, (i), (ii), (iii), (iv)n14, (v)n211

  Eternal Quadrangle, The (Reed), (i)

  Evans, Olive, (i)

  existentialism, (i)

  Exorcism (1919), (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix), (x)n117. See also suicide attempt

  Experimental Theatre, Inc., (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix), (x), (xi)

  expressionism, (i), (ii), (iii), (iv), (v), (vi)n5

  Farrell, James T., (i), (ii)

  Faulkner, William, (i), (ii)

  Federal Bureau of Investigation, (i), (ii), (iii)

  feminism, (i), (ii), (iii), (iv)

  film. See cinema

  First Man, The (1921), (i), (ii), (iii), (iv), (v), (vi), (vii)

  Fitch, Clyde, (i), (ii)

  Fitzgerald, F. Scott, (i)

  Fitzgerald, M. Eleanor, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii)n73

  Fitzgerald, Zelda, (i)

  Fog (1914), (i), (ii)

  Ford, Colin, (i)

  Ford, John, (i), (ii)n137

  Fountain, The (1922), (i), (ii), (iii), (iv), (v), (vi), (vii)

  Francis, John, (i), (ii), (iii)

  Frank, Waldo, (i), (ii)

  Freeman, Elaine, (i)

  Freud, Sigmund, (i), (ii), (iii), (iv), (v), (vi), (vii)

  Gabriel, Gilbert W., (i), (ii)

  Gallant, Barney, (i), (ii), (iii)n65, (iv)n121

  Gálvez, Manuel, (i)

  Game, The (Bryant), (i), (ii)

  G.A.N., The (”The Great American Novel”; 1917), (i)

  Garbo, Greta, (i)


  Gaylord Farm Sanatorium, (i), (ii), (iii), (iv). See also Straw, The

  Gelb, Arthur and Barbara, (i)n143

  Gierow, Karl Ragnar, (i)

  Gilbert, Ruth, (i)

  Gilder, Rosamond, (i)

  Gilpin, Charles S., (i), (ii), (iii), (iv)

  Glaspell, Susan, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix), (x)

  Glencairn, S.S., series, (i), (ii), (iii), (iv), (v), (vi), (vii)n137

  Goethe, Johann Wolfgang von, (i)

  Gold (1920), (i), (ii)

  Gold, Mike, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii)n28, (ix)n31

  Golden, Harry, (i)

  Goldman, Emma, (i), (ii), (iii), (iv), (v)

  Great Depression, (i), (ii), (iii), (iv), (v)

  Great God Brown, The (1925), (i), (ii), (iii), (iv), (v), (vi), (vii)

  Greed of the Meek (historical Cycle, begun 1938), (i), (ii), (iii), (iv), (v), (vi)n240. See also More Stately Mansions; Touch of the Poet, A

  Gregory, Lady Augusta, (i), (ii), (iii)

  Group Theatre, (i)

  Guéthary (France), (i), (ii)

  Hair of the Dog, The (1935, unfinished), (i)

  “Hairy Ape, The” (1917 short story), (i), (ii), (iii)

  Hairy Ape, The (1921): affiliation with the dispossessed, (i); Broadway production, (i), (ii), (iii), (iv); censorship attempts, (i); Driscoll as inspiration for, (i), (ii); film adaptation, (i), (ii); international success, (i); meaning of, (i); political references in, (i), (ii), (iii); production, (i), (ii), (iii), (iv)n7; Provincetown Players’ disbanding and, (i), (ii); reviews, (i), (ii); Scopes trial allusions, (i); stoker-seaman class division in, (i), (ii); super-naturalism in, (i), (ii), (iii); use of masks, (i); writing of, (i); “Yank” Smith character, (i), (ii), (iii), (iv), (v)

  Haiti, (i), (ii), (iii)n242

  Hale, Ruth, (i)

  Hamilton, Clayton, (i), (ii), (iii), (iv), (v)

  Hamilton, Gilbert V., (i)

  Hammond, Edward C., (i)

  Hanau, Stella, (i)

  Hansberry, Lorraine, (i)

  Hapgood, Hutchins, (i), (ii), (iii), (iv), (v), (vi), (vii)

  Harding, Warren, (i), (ii)

  Harkness, Edward S., (i), (ii)

  Harrison, Hubert H., (i)

  Hartley, Marsden, (i), (ii)

  Harvard University (English 47 Seminar), (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix)n198

  Havel, Hippolyte, (i), (ii), (iii), (iv)

  Hawthorne, Hazel, (i)

  Hays, Blanche, (i)

  Haywood, William “Big Bill,” (i)

  Helburn, Theresa, (i), (ii), (iii)

  Hell Hole (Golden Swan Cafe): clientele/characters, (i); description, (i), (ii); as Iceman setting, (i), (ii)n90; Joe Smith character and, (i), (ii), (iii), (iv); Lou Holladay death and, (i); Playwrights’ Theatre and, (i), (ii); Prohibition and, (i); sobriety of 1926 and, (i)

  Hellman, Lillian, (i), (ii), (iii)

  Henri, Robert, (i)

  Herne, James A., (i)

  Heyward, DuBose, (i), (ii)

  Hill, Frederick, (i)

  Hitler, Adolf, (i), (ii), (iii)

  Hoboken Blues (Gold), (i)

  Hogarth, Leona, (i)

  Holladay, Louis “Lou,” (i), (ii), (iii), (iv), (v), (vi)

  Holladay, Paula “Polly,” (i), (ii), (iii)

  Honduras, (i), (ii)

  Hong Kong (trip of 1928), (i)

  Hopkins, Arthur, (i), (ii), (iii), (iv)

  Hopper, Edward, (i)

  Hound of Heaven, The (Francis Thompson), (i), (ii), (iii), (iv)

  Howard, Sidney, (i), (ii), (iii)

  Hughes, Howard, (i)

  Hughes, Langston, (i)n268, (ii)n127

  Hughie (1941), (i), (ii), (iii), (iv)

  Huston, Walter, (i)

  Hwang, David Henry, (i)

  Ibsen, Henrik, (i), (ii), (iii), (iv), (v), (vi)

  Iceman Cometh, The (1939): African American audience ban, (i); American Dream theme in, (i), (ii); “The Bridegroom Weeps!” references, (i); dispossessed characters, (i), (ii); Exorcism as precursor, (i); financial success, (i); Garden Hotel characters, (i); Great Boer War Spectacle and, (i); Hell Hole characters, (i), (ii), (iii); hopeless hope theme sources, (i); Jimmy the Priest’s as setting, (i), (ii), (iii), (iv); Meserve affair and, (i); press conference, (i), (ii); production, (i), (ii), (iii), (iv), (v), (vi); reviews, (i), (ii), (iii)n211; title of, (i); World War II and, (i), (ii); writing of, (i), (ii)

  Ile (1917), (i), (ii), (iii)

  Independent Artists, (i)

  Industrial Workers of the World, (i)

  Inge, William, (i)

  In the Zone (1917), (i), (ii), (iii), (iv), (v), (vi)

  Ireland, Edward, (i), (ii)

  Ireland/Irishness: All God’s Chillun death threat and, (i); Hairy Ape references to, (i); The Hound of Heaven study, (i); Irish Academy of Letters, (i); Irish alcoholic syndrome, (i); “Irish Luck Kid” nickname, (i), (ii); Irish Renaissance, (i); Long Day’s Journey references to, (i); New London ethnic tensions, (i); O’Neill as “Black Irish,” (i), (ii), (iii); O’Neill as Irish radical, (i); O’Neill Irish heritage, (i); A Touch of the Poet and, (i); World War II and, (i)

  Irish Players (Abbey Theatre, Dublin), (i), (ii), (iii), (iv)n14

  “It Cannot Be Mad” (1928, unfinished), (i)

  James, Henry, (i), (ii)

  James, Patterson, (i)

  James, William, (i), (ii)

  Jenkins, Kathleen (first wife): Carlotta Monterey and, (i); correspondence of 1919, (i); divorce, (i), (ii), (iii), (iv), (v); Eugene Jr. and, (i), (ii), (iii), (iv), (v); Exorcism and, (i), (ii), (iii), (iv); George Pitt-Smith marriage, (i); Long Day’s Journey and, (i); O’Neill last encounter, (i); O’Neill remorse for abandonment of, (i), (ii), (iii); photograph, (i); pregnancy and marriage, (i)

  Jimmy the Priest’s (Jimmy’s Hotel and Café), (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix), (x), (xi), (xii)n90

  Johnson, Etta, (i)

  Johnson, Howard Deering, (i)

  Johnson, James Weldon, (i), (ii), (iii)

  Johnston, William, (i)

  Jolson, Al, (i)

  Jones, James Earl, (i)n242

  Jones, Robert Edmond: on dialogue in O’Neill, (i); Experimental Theatre and, (i), (ii); “new stagecraft” set design, (i); O’Neill drinking and, (i); productions, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix), (x), (xi), (xii)n245; at Provincetown, (i), (ii); Tao House visit, (i)

  Jordan, Elizabeth, (i), (ii)

  Joyce, James, (i), (ii), (iii), (iv)

  Jung, Carl, (i), (ii), (iii)

  Kaczynski, Theodore “Ted,” (i)nn12

  Kahn, Otto, (i)

  Karsner, David, (i), (ii)

  Keane, Doris, (i)

  Keefe, Ed, (i), (ii), (iii), (iv)

  Kemp, Harry, (i), (ii), (iii), (iv), (v)

  Kenton, Edna, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix), (x), (xi)

  Kerr, Walter, (i)

  Kingsley, Sidney, (i)

  Knock On the Door, The (1914), (i)

  Komroff, Manuel, (i)

  Krutch, Joseph Wood, (i), (ii), (iii)

  Kushner, Tony, (i), (ii)

  Lane, Nathan, (i)

  Langner, Lawrence, (i), (ii), (iii)

  Larned, W. Livingston, (i), (ii)n165

  Latimer, Frederick P., (i), (ii)

  Lawson, John Howard, (i)

  Lazarus Laughed (1926), (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix), (x)n201

  Lefty Louie, (i), (ii), (iii)

  Lewis, Gladys (George Lewys), (i)

  Lewis, Sinclair, (i), (ii), (iii), (iv)

  Lewis, William H., (i)

  Lewisohn, Sam, (i)

  Light, James “Jimmy”: Carlotta Monterey and, (i); Carlyle Hotel visit, (i); on expressionism, (i); introduction, (i); as O’Neill director, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii)n245; O’Neill disenchantment with drama and, (i); as Provincetown Player, (i), (ii), (iii), (iv); on T
he Straw, (i); use of masks, (i), (ii), (iii), (iv), (v)

  Locke, Alain, (i)

  London, Jack, (i), (ii), (iii), (iv), (v)n229

  Long Day’s Journey Into Night (1941): awards, (i); characters, (i), (ii), (iii); death of Eugene Tyrone, (i); depiction of madness in, (i); Edmund character, (i), (ii), (iii), (iv), (v), (vi); Exorcism as precursor, (i), (ii); Fairfield County Home sanatorium in, (i); inscription to Carlotta in, (i); James character, (i), (ii), (iii), (iv), (v); Jimmy the Priest mentioned in, (i); Mary character, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii); monologue on freedom, (i); New London depiction, (i), (ii); plot, (i); production, (i), (ii), (iii), (iv), (v); publication/production stipulations, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii); religion in, (i), (ii), (iii); reviews, (i), (ii); Saxe Commins friendship and, (i); writing of, (i), (ii), (iii), (iv)

  Long Voyage Home, The (1917), (i), (ii), (iii), (iv), (v), (vi), (vii)

  Lyman, David Russell, (i)

  Macgowan, Kenneth: Agnes Boulton and, (i); Château du Plessis article, (i); Desire plagiarism charge and, (i); Eugene Jr. meeting and, (i); as Experimental Theatre founder, (i), (ii), (iii); Gilpin Drama League award and, (i); on The Hairy Ape, (i); Oona birth and, (i); reviews, (i), (ii), (iii), (iv), (v), (vi), (vii); on Welded, (i)

  MacKay, Catherine Anna “Kitty,” (i), (ii)

  MacKaye, Percy, (i)

  MacKellar, Helen, (i)

  Madden, Richard J., (i), (ii), (iii)

  Mamet, David, (i)

  Mann, Theodore, (i)

  Mann, Thomas, (i)

  Mantle, Burns, (i)

  Marblehead (Massachusetts), (i)

  Marbury, Elizabeth “Bess,” (i), (ii)

  March, Fredric, (i)

  Marco Millions (1925), (i), (ii), (iii), (iv), (v), (vi), (vii), (viii)

  Markham, Kyra, (i)

  Markham, Marcella, (i)

  Marshall, Armina, (i)

  Marx, Grocho, (i)

  Masefield, John, (i)

  Maurier, George du, (i)

  McAteer, M. A., (i)

  McCarthy, Mary, (i), (ii)

  McGee, Harold, (i)

  McGinley, Art, (i), (ii), (iii)

  McKay, Claude, (i)

  Mellon, Andrew W., (i)

  melodrama, (i), (ii), (iii), (iv), (v), (vi). See also style; theater

  Mencken, H. L., (i), (ii), (iii), (iv)n5

  Mephistopheles, (i)

  Meserve, Donald Vose, (i)

  Metcalf, Laurie, (i)

  Millay, Edna St. Vincent, (i), (ii)

  Miller, Arthur, (i), (ii)

  Miller, Nat, (i)

  Mirren, Helen, (i)

  “Mob” play (begun 1926, unfinished), (i)

  Moeller, Philip, (i), (ii), (iii)

  Moise, Nina, (i), (ii), (iii), (iv)