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فراسوی کرانه
فراسوی کرانه نخستین نمایشنامهی بلند یوجین اونیل که در مناطق روستایی نیوانگلند میگذرد، داستان دو برادر به نامهای رابرت و اندرو است و به بلندپروازیها، رؤیاها، زندگی عاشقانه، وظیفهشناسی و کشمکشهای آنها در زندگی میپردازد. آرزوی رابرت این است که مزرعه را ترک کند و با کشتی به کشورهای دوردست سفر کند و دنیا را ببیند. اما اندرو دوست دارد در همان روستا بماند و مشغول کشاورزی شود. گرچه نقشههای آن دو برای آینده چنان پیش نمیرود که انتظار دارند. هر دو برادر اکنون عاشق روث، دوست دوران کودکیشان هستند و این مثلث عشقی کاراکترها را ناچار میسازد که دست به انتخابهای سرنوشتساز بسازند و با پیامدهای تصمیم خود رویارو شوند. یوجین اونیل، نمایشنامهنویسی که سه بار برندهی جایزهی پولیتزر شده، در «فراسوی کرانه» با نگاهی ژرف و واقعگرایانه از روابط پیچیدهی انسانی، مفهوم خوشبختی و جستوجوی انسانها برای یافتن معنای زندگی سخن میگوید و همچون همیشه درونمایههایی برمیگزیند که به راستی بیزمان هستند و هر آدمی، در هر جا و در هر موقعیتی میتواند با آنها ارتباط برقرار کند
110 pages, Paperback
First published January 1, 1920
18 people are currently reading
519 people want to read
About the author
Eugene O'Neill
530 books1,242 followersAmerican playwright Eugene Gladstone O'Neill authored
Mourning Becomes Electra
in 1931 among his works; he won the Nobel Prize of 1936 for literature, and people awarded him his fourth Pulitzer Prize for
Long Day's Journey into Night
, produced in 1956.
He won his Nobel Prize "for the power, honesty and deep-felt emotions of his dramatic works, which embody an original concept of tragedy." More than any other dramatist, O'Neill introduced the dramatic realism that Russian playwright Anton Chekhov, Norwegian playwright Henrik Ibsen, and Swedish playwright August Strindberg pioneered to Americans and first used true American vernacular in his speeches.
His plays involve characters, who, engaging in depraved behavior, inhabit the fringes of society, where they struggle to maintain their hopes and aspirations but ultimately slide into disillusionment and despair. O'Neill wrote Ah, Wilderness! , his only comedy: all his other plays involve some degree of tragedy and personal pessimism.
He won his Nobel Prize "for the power, honesty and deep-felt emotions of his dramatic works, which embody an original concept of tragedy." More than any other dramatist, O'Neill introduced the dramatic realism that Russian playwright Anton Chekhov, Norwegian playwright Henrik Ibsen, and Swedish playwright August Strindberg pioneered to Americans and first used true American vernacular in his speeches.
His plays involve characters, who, engaging in depraved behavior, inhabit the fringes of society, where they struggle to maintain their hopes and aspirations but ultimately slide into disillusionment and despair. O'Neill wrote Ah, Wilderness! , his only comedy: all his other plays involve some degree of tragedy and personal pessimism.
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Displaying 1 - 30 of 64 reviews
July 25, 2023
A bleak play about lost dreams. This was the first time I wasn't in search of a performance while reading a play. The descriptions and indications made it feel more like reading a novel.
March 11, 2018
3.5/Triste, muy triste... Aún cuando encierra una gran verdad: uno debe seguir el camino con el que sueña y no dejarse arrastrar por amores ni orgullos.
January 2, 2018
I have always found Eugene O' Neill's plays to be mythological in themes. He deals with themes that are timeless and which everyone can relate to on a very visceral level. Beyond the Horizon is no different. The tale of two brothers and one woman mingled with foolish honor may take place in the beginning of the twentieth century, it may take place on a farm but the themes the play explores could happen anywhere at any time in history. And, O'Neill does not disappoint when it comes to exploring different views of the characters. Beyond the Horizon won the Pulitzer Prize in 1920. I suspect the brutality with which the characters express their feelings in the play was a shock to the audiences. The sophistication of the psychology behind the characters' actions is surprising as is the honest interior nature of their thoughts. But, these are all things O'Neill sharpens in future works.
The play itself is a tragedy. The first act studiously sets the stage for what follows. I was geared up for the journey when I read it. As the play progressed in the next two acts a feeling of loss and hopelessness takes over. Culminating at the end, I was left feeling depressed. The inevitability of the action I found emotionally oppressive. Again, vintage O'Neill. Maybe not the best choice of reading material on New Year's Eve. However, these are my problems and not those of the author.
Being written in 1920, the play, in spite of its modernist approach, has moments when it reflects the more common melodramatic nature of drama at that time. When these moments occur, I was taken out of the play itself and was an outsider looking in on the action. It is unfair of me to look at an early twentieth century play with the sensibilities of someone living in the early twenty-first century. But, those moments did occur. Unfortunately, they happened in some of the most intense moments of the play. I want to stress, however, that despite this, contained within Beyond the Horizon can easily be seen the genius of drama O'Neill became in future works. I recommend this play for those interested in American Theater.
The play itself is a tragedy. The first act studiously sets the stage for what follows. I was geared up for the journey when I read it. As the play progressed in the next two acts a feeling of loss and hopelessness takes over. Culminating at the end, I was left feeling depressed. The inevitability of the action I found emotionally oppressive. Again, vintage O'Neill. Maybe not the best choice of reading material on New Year's Eve. However, these are my problems and not those of the author.
Being written in 1920, the play, in spite of its modernist approach, has moments when it reflects the more common melodramatic nature of drama at that time. When these moments occur, I was taken out of the play itself and was an outsider looking in on the action. It is unfair of me to look at an early twentieth century play with the sensibilities of someone living in the early twenty-first century. But, those moments did occur. Unfortunately, they happened in some of the most intense moments of the play. I want to stress, however, that despite this, contained within Beyond the Horizon can easily be seen the genius of drama O'Neill became in future works. I recommend this play for those interested in American Theater.
May 21, 2024
Lies/self-deception and circumstance/fate surround brothers (1 materialist and 1 romantic) as they flee and get trapped by marriage/farming.
March 26, 2022
I read this O'Neill play in a course of study. We discussed it at great length, watched a recent 3 hour film, followed by a virtual meeting with the director of that movie.
Overall, I consider this drama quite dark and depressing. It is a deep reflection of family dynamics, both with parental interactions and those of siblings. Of interest, the poem by Robert Frost, The Road Not Taken and Other Poems , fit perfectly with the overall theme of choices, personal responsibility and the repercussions of options.
Although I am not generally a reader of plays, it was unique to see the depth and volume of stage directions, visuals of the environment and even the descriptions of characters' appearances. It is as if O'Neill meant this to be read.
Overall, I consider this drama quite dark and depressing. It is a deep reflection of family dynamics, both with parental interactions and those of siblings. Of interest, the poem by Robert Frost, The Road Not Taken and Other Poems , fit perfectly with the overall theme of choices, personal responsibility and the repercussions of options.
Although I am not generally a reader of plays, it was unique to see the depth and volume of stage directions, visuals of the environment and even the descriptions of characters' appearances. It is as if O'Neill meant this to be read.
November 19, 2016
I don't understand why this play has so many negative reviews on here. Yes, it's sentimental, but why is that a bad thing? Eugene O'Neill's sentimentality is what makes his writing so beautiful. Also, it is incredibly sad, but considering what O'Neill was going through in his life when he wrote this, it makes sense. Beyond the Horizon is an emotional journey worth taking.
October 24, 2016
A depressing family melodrama that in its edges reminiscent of East of Eden without a bite.
Realism is a bit hard to swallow, me thinks. Especially with exaggerated characteristics of men and women in this one.
Realism is a bit hard to swallow, me thinks. Especially with exaggerated characteristics of men and women in this one.
March 9, 2017
i really loved it because of the great interpretation of our prof. Mohamedd Abu arab
July 16, 2018
Powerful writing. Damn, it's grim business being a character in an O'Neill play.
June 21, 2024
Wonderfully sad.
August 19, 2007
BEYOND THE HORIZON was Eugene O'Neill's first full-length play. The tale of two siblings who take off on very different and unexpected paths in life, the play explores how fate and our own decisions can doom our lives. Robert and Andrew Mayo have grown up on a farm somewhere in the United States. Robert is the dreamer and intellectual of the two, a lifetime of frailty preventing him from working as a farmer, and he dreams of seeing the world and living in places beyond the small confines of his family's farm. Andrew, however, is a man of purely practical concerns who is happily following in his father's footsteps and taking care of the farm. As the play opens, Robert has just been offered as change to go to see with his merchant seaman uncle, an opportunity that would fulfill his wanderlust. However, a woman creates a conflict between the brothers and Andrew takes the trip while Robert stays on the farm. From here, the play opens to show how one's best-laid plans can be dashed by the unexpected, as both brothers lead lives of despair.
While BEYOND THE HORIZON won O'Neill the first of his four Pulitzer Prizes, it doesn't survive the test of time very well. He insists on spelling out everything for the audience, resulting in some of the most ridiculous and just plain unrealistic dialogue I have ever seen. Readers who grew up in the tradition left by Samuel Beckett and Harold Pinter will also find O'Neill's lengthy set design annoying, as in some parts he spends up to two pages laying out each and every detail instead of leaving it up to the director as is done nowadays. Finally, BEYOND THE HORIZON is rather provincial and has none of the refinement that readers today will have become used to. American theatre at this time lacked any figure to make it matter on the world stage, and while O'Neill was to become this figure with his later plays, this work shows him still very immature.
I believe BEYOND THE HORIZON is a work worth reading only if one has a particular interest in the evolution of American theatre or the works of Eugene O'Neill in general. Its poor writing makes it quite unentertaining.
While BEYOND THE HORIZON won O'Neill the first of his four Pulitzer Prizes, it doesn't survive the test of time very well. He insists on spelling out everything for the audience, resulting in some of the most ridiculous and just plain unrealistic dialogue I have ever seen. Readers who grew up in the tradition left by Samuel Beckett and Harold Pinter will also find O'Neill's lengthy set design annoying, as in some parts he spends up to two pages laying out each and every detail instead of leaving it up to the director as is done nowadays. Finally, BEYOND THE HORIZON is rather provincial and has none of the refinement that readers today will have become used to. American theatre at this time lacked any figure to make it matter on the world stage, and while O'Neill was to become this figure with his later plays, this work shows him still very immature.
I believe BEYOND THE HORIZON is a work worth reading only if one has a particular interest in the evolution of American theatre or the works of Eugene O'Neill in general. Its poor writing makes it quite unentertaining.
March 13, 2012
Beyond the Horizon was O'Neill's first serious work, and it reveals the burgeoning genius that was to come. The drama unfolds around a typically American farming family and two sons. One is an intellectual bored with his agricultural upbringing who dreams of life beyond the horizon, one is entirely practical and a worker. Their lives are wrecked as each, because of love, pursues the other's dream. Both are ruined. It is a sad story, but one in which the audience can distinguish many close-to-home metaphors. In criticism - the play is less-than-subtle and contains quite a bit of clunky dialogue. It is worth the quick read, however, as a glimpse into the developing genius of American theatre.
January 31, 2010
Recall reading it in high school, that I liked it, and even that I regarded it as having some influence upon my outlook upon life and upon my future plans. Guess I need to re-read it sometime to see if any of that still holds true.
Read
December 2, 2023Qué miedo creer que amas a alguien y luego descubrir que era todo una ilusión.
October 30, 2025
A play which seems to be an early version dealing with many themes of "Long Day's Journey Into the Night", about two brothers from a poor farmer family who fall in love with the same woman. It shows how the brothers are cruel to each other and how the relationship is destroyed. Its characters are very real and greatly written.
July 18, 2024
#2005-06: With O’Neill
“Suppose I was to tell you that it's just beauty that's calling me, the beauty of the far off and unknown, the mystery and spell which lures me, the need of freedom of great wide spaces, the joy of wandering on and on----in quest of the secret which is hidden over there----beyond the horizon?”
Frank and unbending as a tragedy, this play unfolds the tale of Robert Mayo who is the victim of his dreams.
As he is about to start on a long sea voyage with his uncle, he believes he is badly in love with Ruth, the girl who is engaged to his brother Andrew. She impetuously throws Andrews over and accepts Robert, while Andrew sails in his place.
Before long Robert learns that the marriage was a blunder; he is sure that she is still captivated by Andrew.
Three years pass and Robert, ailing and disenchanted, with only his child to soothe him, fails despondently in his efforts to make a go at the farm.
Andrew comes back momentarily, only to bring despondency to both Ruth and Robert.
The woman realizes that no longer loves her and Robert, who had hoped to get from his brother at least a gasp of romance he had longed for, finds Andrew an ordinary and uninspired materialist.
From this point, Robert is the central figure.
We are shown the psychological and corporeal squalor of a man who cannot live without illusions: “you see the weakening of love, the birth of displeasure, the deterioration of poverty and malice and ailment. You watch the romance burn itself out to an ugly cinder.
You see the woman go dreary and monotonous and glowering, and you see the man wasted by the consumption that in another life might have been avoided, crawl at last out of the hated house to die on the road he should have travelled, straining his eyes towards the hills he never crossed.”
Each character in the play is infatuated by his hankering for what he can never have — for what lies ‘beyond the horizon’.
O’Neill’s first full-length play, Beyond the Horizon, established once and for all his reputation as a great American dramatist. A realistic play, it deals grimly not only with the life of a farmer but ends on a note of complete and unrelieved frustration.
The play won O’Neill his first Pulitzer Prize, the highest American Prize for Literature. He was so poorly off at that time that he told his friends subsequently: “When my wife wired me the news, I thought it meant some wooden medal or other, until a friend told me that it was a thousand dollars. Then I came to, and paid off some of my worst debts.”
“Suppose I was to tell you that it's just beauty that's calling me, the beauty of the far off and unknown, the mystery and spell which lures me, the need of freedom of great wide spaces, the joy of wandering on and on----in quest of the secret which is hidden over there----beyond the horizon?”
Frank and unbending as a tragedy, this play unfolds the tale of Robert Mayo who is the victim of his dreams.
As he is about to start on a long sea voyage with his uncle, he believes he is badly in love with Ruth, the girl who is engaged to his brother Andrew. She impetuously throws Andrews over and accepts Robert, while Andrew sails in his place.
Before long Robert learns that the marriage was a blunder; he is sure that she is still captivated by Andrew.
Three years pass and Robert, ailing and disenchanted, with only his child to soothe him, fails despondently in his efforts to make a go at the farm.
Andrew comes back momentarily, only to bring despondency to both Ruth and Robert.
The woman realizes that no longer loves her and Robert, who had hoped to get from his brother at least a gasp of romance he had longed for, finds Andrew an ordinary and uninspired materialist.
From this point, Robert is the central figure.
We are shown the psychological and corporeal squalor of a man who cannot live without illusions: “you see the weakening of love, the birth of displeasure, the deterioration of poverty and malice and ailment. You watch the romance burn itself out to an ugly cinder.
You see the woman go dreary and monotonous and glowering, and you see the man wasted by the consumption that in another life might have been avoided, crawl at last out of the hated house to die on the road he should have travelled, straining his eyes towards the hills he never crossed.”
Each character in the play is infatuated by his hankering for what he can never have — for what lies ‘beyond the horizon’.
O’Neill’s first full-length play, Beyond the Horizon, established once and for all his reputation as a great American dramatist. A realistic play, it deals grimly not only with the life of a farmer but ends on a note of complete and unrelieved frustration.
The play won O’Neill his first Pulitzer Prize, the highest American Prize for Literature. He was so poorly off at that time that he told his friends subsequently: “When my wife wired me the news, I thought it meant some wooden medal or other, until a friend told me that it was a thousand dollars. Then I came to, and paid off some of my worst debts.”
January 10, 2017
Tragic three-act play about two brothers, one of whom leaves to go out into he world while the other stays at home on the farm.
The tragedy derives from the fact that the roles should have been reversed. Robert is described as delicate and weak with 'a touch of the poet', Andrew as large and strong, 'a son of the soil'. Robert is a dreamer, Andrew a practical young man.
In the first Act we find Robert dreaming about what lies 'beyond the horizon' on the eve of a three year trip East, only to change his mind and be replaced by Andrew when they discover that Ruth, the girl they both love, favours Robert.
Act two jumps forward those three years, Act Three takes us on a further five to a decidedly miserable denouement all around. Dreams have been shattered, faith and hope in each other and life in general stripped away by reality. As one of the characters despairingly observes,
"Life owes us some happiness after what we've been through. (Vehemently) It must. Otherwise our suffering would be meaningless - and that is unthinkable."
For Robert, the principle loser of the decisions made in Act One, the sight of the mountains which used to fire his youthful dreams of what lay beyond the horizon become those "damn hills outlined against a creeping grayness".
This was an early play by O'Neill, and it shows. I liked it well enough but it's difficult to see now, about a hundred years after it was first staged, how it could possibly have been distinguished enough to win the Pulitzer Prize. Much of the dialogue seems hackneyed and sentimental today, though the story itself is still one of universal relevance.
Looking around I notice that it is still performed, which proves that last point. I couldn't imagine any aspiring young actress pointedly lobbying for the role of Ruth however. If this is a play about dreams then she is certainly the dream-wrecker.
For those who like the game of connections, as I said this play won the Pulitzer Prize in 1920, an award also won by Bob Dylan in 2008. O'Neill won the Nobel Prize for Literature in 1936, which was awarded to Bob Dylan this year. Dylan has also written a song called 'Beyond the Horizon', which appeared on his 2006 album Modern Times.
The tragedy derives from the fact that the roles should have been reversed. Robert is described as delicate and weak with 'a touch of the poet', Andrew as large and strong, 'a son of the soil'. Robert is a dreamer, Andrew a practical young man.
In the first Act we find Robert dreaming about what lies 'beyond the horizon' on the eve of a three year trip East, only to change his mind and be replaced by Andrew when they discover that Ruth, the girl they both love, favours Robert.
Act two jumps forward those three years, Act Three takes us on a further five to a decidedly miserable denouement all around. Dreams have been shattered, faith and hope in each other and life in general stripped away by reality. As one of the characters despairingly observes,
"Life owes us some happiness after what we've been through. (Vehemently) It must. Otherwise our suffering would be meaningless - and that is unthinkable."
For Robert, the principle loser of the decisions made in Act One, the sight of the mountains which used to fire his youthful dreams of what lay beyond the horizon become those "damn hills outlined against a creeping grayness".
This was an early play by O'Neill, and it shows. I liked it well enough but it's difficult to see now, about a hundred years after it was first staged, how it could possibly have been distinguished enough to win the Pulitzer Prize. Much of the dialogue seems hackneyed and sentimental today, though the story itself is still one of universal relevance.
Looking around I notice that it is still performed, which proves that last point. I couldn't imagine any aspiring young actress pointedly lobbying for the role of Ruth however. If this is a play about dreams then she is certainly the dream-wrecker.
For those who like the game of connections, as I said this play won the Pulitzer Prize in 1920, an award also won by Bob Dylan in 2008. O'Neill won the Nobel Prize for Literature in 1936, which was awarded to Bob Dylan this year. Dylan has also written a song called 'Beyond the Horizon', which appeared on his 2006 album Modern Times.
March 27, 2014
Beyond the Horizon, Eugene O’Neill’s first full-length play (which also netted him his first Pulitzer), is good. Not great – his female characters are woefully flat, and the play veers into overwritten melodrama common to young and aspiring writers – but solid.
Two brothers, different as can be but close, make a sudden and unexpected decision that profoundly shapes both their lives and the lives of everyone around them. It’s a near perfect set up, which might be why I found the first act the strongest part of the play.
Similar to Chekhov’s Platonov, it’s interesting to read this early work and see the potential and talent that’s peeking through some of the dreck. Worth a read if for no other reason that seeing how this early drama laid the groundwork for O’Neill’s later success. Recommended.
Two brothers, different as can be but close, make a sudden and unexpected decision that profoundly shapes both their lives and the lives of everyone around them. It’s a near perfect set up, which might be why I found the first act the strongest part of the play.
Similar to Chekhov’s Platonov, it’s interesting to read this early work and see the potential and talent that’s peeking through some of the dreck. Worth a read if for no other reason that seeing how this early drama laid the groundwork for O’Neill’s later success. Recommended.
April 9, 2012
This is a great piece for two young male actors. The brother characters have parallel paths and their arcs ascend while the other descends. There is a lot of work put into this first full-length play of O'Neill's. It is more sentimental than I'm accustomed to reading from him, but, nonetheless, it seems to be the pattern for his early realism plays. There also seems to be a lot of moralizing in these early plays...I guess the Catholic wasn't completely eradicated at that time. Anyway, I think this is an under-produced play, but a really good piece for two young male actors to sink their teeth into.
April 6, 2019
I read this as part of a “bucket list” item of reading as many 20th century Pulitzer drama winners as possible before I die.
Plays of this era—it’s a hundred years old—seem terribly corny, given the dialogue had been sanitized by the sensibilities of the age. The characters seem stereotyped.
But that’s looking back with a 21st century perspective. For its time this might have been a groundbreaking work...and given the fame it earned was deemed so. The plot has themes addressed since, with lives unfulfilled, people attempting to fit into roles for which they lack temperament.
Worth the read if you’re interested in such things. I was.
Plays of this era—it’s a hundred years old—seem terribly corny, given the dialogue had been sanitized by the sensibilities of the age. The characters seem stereotyped.
But that’s looking back with a 21st century perspective. For its time this might have been a groundbreaking work...and given the fame it earned was deemed so. The plot has themes addressed since, with lives unfulfilled, people attempting to fit into roles for which they lack temperament.
Worth the read if you’re interested in such things. I was.
September 26, 2012
Two stars not because it was in any way bland or indifferent--this is a strong story, not plotwise, but characterwise.
I can't agree with O'Neill's opinions of women, because I've known living ones who prove him wrong. And I'm not sure he got men right, either; I, at least, am neither as noble or as unselfish as either of his men, and it may be wrong of me to suspect that O'Neill wasn't either, but that's the way the wind blows.
But even if there is a misogynous slant to the play, and even though it is a tragedy, there is a glimmer of hope that shines through...so there, Eugene.
I can't agree with O'Neill's opinions of women, because I've known living ones who prove him wrong. And I'm not sure he got men right, either; I, at least, am neither as noble or as unselfish as either of his men, and it may be wrong of me to suspect that O'Neill wasn't either, but that's the way the wind blows.
But even if there is a misogynous slant to the play, and even though it is a tragedy, there is a glimmer of hope that shines through...so there, Eugene.
July 10, 2007
"آن سوی افق"، اولین نمایش نامه ی بلند اونیل، و برنده ی جایزه ی ادبی پولیزر 1920، به احوال یک خانواده، به ویژه دو برادر، "اندرو" و "رابرت" می پردازد، دو برادر با همان خصوصیاتی که بعدها "ادموند" و "جیمی"، در نمایش نامه ی "سیر دراز روز در شب" دارند. رابرت (مانند ادموند) مایل است مثل عمویش دیک، به دریانوردی برود، کاپتین بشود، حال آن که برادرش اندرو، می خواهد با عشقش "روت" ازدواج کند، خانواده تشکیل دهد و در مزرعه ی خانوادگی کار کند.
October 20, 2010
A very easy and pleasant read, yet thoroughly forgettable. I was astounded after reading it to learn that it won a Pulitzer. Both the action and the dialogue were very predictable. No surprises or reversals, just a straightforward tale told in a perfunctory manner. Worth reading if you have a couple of hours to relax, but not really worth going out of the way for.
March 29, 2011
What an interesting story with a depressing ending! I loved Robert and felt SO sad for him that he had to live with a woman like Ruth - she was a serious pain in the rear and "meanie", as one of my younger brother's might say. What a dislikable character. lol
All around though, 'twas a good read! I liked it more than Shakespeare's A Midsummer Night's Dream.
All around though, 'twas a good read! I liked it more than Shakespeare's A Midsummer Night's Dream.
September 4, 2007
What a depressing play! Cripes, Eugene, lighten up. I'm glad my scene is at the beginning, when the characters are still remotely happy.
I don't know why this won a Pulitzer Prize, incidentally. It's ok, but a lot of the dialogue seems very stilted and cliched. Maybe this started the cliches?
I don't know why this won a Pulitzer Prize, incidentally. It's ok, but a lot of the dialogue seems very stilted and cliched. Maybe this started the cliches?
November 11, 2012
This play, O'Neil's first, steamrolls its way towards its grim finale while laying out many of the major themes that the playwright would revisit time and again in the career to come. Yet, this is an affecting work in its own right, filled raw emotions that cut to the quick.
July 28, 2016
As my wife pointed out to me, "Of course it's depressing, it won the Pulitzer." However, despite being depressing I enjoyed it. I don't want it on my list of plays to see or direct, but it was a nice read.
December 1, 2008
Umm, I don't think I understood it fully, but from what I read I didn't like it. Definetly don't recommend it unless, you like reading plays or like O'Neill.
October 29, 2009
cried at the end of this...VERY sad...
January 2, 2010
Despair, anger, and one simple bad decision are the themes of this play, very, very dark, as people who once loved it other begin to hate each other passionately.
Displaying 1 - 30 of 64 reviews