Project Description


Associate Producer of LONG DAYS JOURNEY INTO NIGHT, opened at the Plymouth Theatre, Broadway on May 6, 2003 and closed on August 31, 2003, having grossed USD $11,333,178 during a run of 117 performances and 10 paid previews (previews began on April 25, 2003), with an average ticket price of $86.25.

The Tyrone family — the miserly actor father, the grasping mother addicted to morphine, the alcoholic older son and the tubercular younger son — come to grips with their twisted love for one another in Eugene O’Neill’s Pulitzer Prize and Tony Award-winning play.

Vanessa Redgrave takes a true star turn as the morphine-addled matriarch who watches her family dissolve through bleary eyes. The weak coughing fits of her youngest (Robert Sean Leonard) and the strutting and fretting of her husband (Brian Dennehy) and eldest son (Philip Seymour Hoffman) are heart-rendingly painted.

Written by Eugene O’Neill; Produced by David Richenthal, Anthony D. Marshall, Charlene Marshall, Max Cooper, Eric Falkenstein and Darren Bagert; produced in association with Kara Medoff, Lisa Vioni and Gene Korf; Associate Produced by Toby Simkin, Anna Ryan Hansen, Ergo Entertainment and entitled entertainment; Originating Producer: The Goodman Theatre.

Directed by Robert Falls; Set Design by Santo Loquasto; Costume Design by Santo Loquasto; Lighting Design by Brian MacDevitt; Sound Design by Richard Woodbury and Men’s Hair & Wig Design by Robert Charles Vallance.

STARRING Vanessa Redgrave (Mary Cavan Tyrone); Brian Dennehy (James Tyrone); Philip Seymour Hoffman (James Tyrone, Jr.); Robert Sean Leonard (Edmund Tyrone); Fiana Toibin (Cathleen); WITH Christopher Wynkoop (Understudy for James Tyrone); C.J. Wilson (Understudy for James Tyrone, Jr.); Michael Dempsey (Understudy for Edmund Tyrone); Morgan Hallett (Understudy for Cathleen);

Associate Set Designer: David Swayze; Associate Costume Designer: Cheri Trotter; Assistant Lighting Designer: Charles Pennebaker and Jason Lyons; Assistant Sound Designer: Erich Bechtel; Assistant Director: Catherine Baker Steindler; Dialect Coach: Deborah Hecht; Casting by Bernard Telsey Casting, C.S.A., Bernie Telsey; Casting Associate: Will Cantler, David Vaccari, Bethany Berg, Victoria Pettibone, Craig Burns, Tiffany Little Canfield and Christine Todino; Technical Supervisor: Neil Mazzella; Production Stage Manager: Jane Grey; Assistant Stage Managed by Philip Cusack and Assistant to the Stage Managers: Sid King

General Managed by Albert Poland; Company Managed by Bruce Klinger; Press Representative: Richard Kornberg, Don Summa, Tom D’Ambrosio, Carrie Friedman and Rick Miramontez; Marketing Online by Toby Simkin; Study Guide by; Advertising by SpotCo, Jim Aquino, Lauren Hunter, Drew Hodges and Jim Edwards; Merchandising by Show Property LLC and Randi Grossman; Production Carpenter: Walter Murphy; Production Electrician: Richard Beck; Production Props: Abe Morrison; Production Sound Engineer: Cynthia Hawkins; Wardrobe Supervisor: Dave Olin Rogers; Ms. Redgrave’s Dresser: Barbara Rosenthal; Mr. Dennehy’s Dresser: Kathe Mull; Wigs by Broadway Wig Company and Production Assistant: Alicia Mandelkow

Assistant to Mr. Richenthal: Judy Insel; Assistant to Mr. Bagert: Jonathan Todd Ross; Assistant to Mr. Poland: Janet Casamento; Legal Counsel: Franklin, Weinrib, Rudell & Vassallo, P.C., Elliot H. Brown and Dan Wasser; Banking by JPMorganChase; Insurance by DeWitt Stern Group, Peter Shoemaker and Stan Levine; Payroll by Castellana Services Inc.; Accounting by Rosenberg, Neuwirth & Kuchner, Mark D’Ambrosi, Jana Jevnikar and Frank Neuwirth; Travel Services by TSI/Tzell Travel; Rehearsal Space at the New 42nd Street Studios; Scenery Construction by Hudson Scenic Studio Inc.; Lighting Supply by Fourth Phase Lighting Inc.; Sound Equipment by Sound Associates.

  • The Director is a member of the Society of Stage Directors and Choreographers, Inc. an independent national labor union.
  • The Actors and Stage Managers employed in this production are members of Actor’s Equity Association, The union of professional actors and stage managers in the United States.
  • United Scenic Artists represents the designers and scenic painters for the American Theatre.
  • Backstage and Front of House Employees are represented by the International Alliance of Theatrical Stage Employees (or I.A.T.S.E.)
  • The Press Agents, Company and House Managers employed in this production are represented by the Association of Theatrical Press Agents & Managers.


  • TONY AWARD WINNER for Best Revival of a Play to Long Days Journey Into Night;
  • TONY AWARD WINNER for Best Actor in a Play to Brian Dennehy;
  • TONY AWARD WINNER for Best Actress in a Play to Vanessa Redgrave;
  • TONY AWARD NOMINATION for Best Direction of a Play to Robert Falls;
  • TONY AWARD NOMINATION for Best Featured Actor in a Play to Philip Seymour Hoffman;
  • TONY AWARD NOMINATION for Best Featured Actor in a Play to Robert Sean Leonard;
  • TONY AWARD NOMINATION for Best Scenic Design (Play or Musical) to Santo Loquasto;
  • DRAMA DESK AWARD NOMINEE for Outstanding Actor In A Play to Brian Dennehy;
  • DRAMA DESK AWARD WINNER for Outstanding Actress In A Play to Vanessa Redgrave;
  • DRAMA DESK AWARD WINNER for Outstanding Director Of A Play to Robert Falls;
  • DRAMA DESK AWARD NOMINEE for Outstanding Featured Actor In A Play to Philip Seymour Hoffman;
  • DRAMA DESK AWARD WINNER for Outstanding Revival Of A Play to Long Days Journey Into Night;
  • DRAMA LEAGUE NOMINEE for Distinguished Production Of A Revival to Long Days Journey Into Night;

Review Highlights

AP  ★★★★★
“Long Day’s Journey Into Night” is a marathon, lasting a bit over four hours. But it’s one family battle you are unlikely to forget.

New York Daily News  ★★★★★
This is a great production of one of the world’s great plays.

New York Post  ★★★★★
I have seen every major American, British and even Swedish cast, but this one – Vanessa Redgrave, Brian Dennehy, Philip Seymour Hoffman, Robert Sean Leonard and… Fiana Toibin – is the all-around finest.

New York Times  ★★★★★
Even given these lapses, however, this remains the most lucid and unsettling account of “Journey” that I have ever seen. Ultimately Ms. Redgrave’s Mary does not run away with the show, which would terminally upset its balance. Instead, she radiates a searching, flickering light that reveals not only the battling selves beneath her skin but those of the others as well.

Newark Star-Ledger  ★★★★★
Clocking in at four hours (with two intermissions), “Long Day’s Journey Into Night” is a drama that demands commitment and concentration from audiences as much as its actors. Because the artists here are so magnificent, bringing the Tyrones to life with great power, the time passes faster than might be expected — yet the memory of such performances will linger for years.

Newsday  ★★★★★
O’Neill’s emotional rhythm comes in waves and mood swings of lumbering honesty. There is outburst and apology, suspicion and shame, indictment and defense, confession and coverup, sentiment and cynicism, litanies of accusation and self-recrimination… The tension is unrelenting as everyone sinks deeper into his or her own particular opiate.

The Journal News  ★★★★★
But there is an unquestionable, stately beauty in this play of endless pain. Especially when it is so grandly acted by a cast of a caliber we won’t soon see again.

USA Today  ★★★★
But if you find yourself wanting to look away occasionally, it won’t be to check your watch. Falls’ mercilessly naturalistic interpretation enables us to see the Tyrones, that mother of all dysfunctional modern families, unravel in what seems like real time. And it’s seldom a pretty sight.