restricted access   Volume 34, Number 1, 2013

Table of Contents

Editor’s Foreword

pp. v-vi


Eugene O’Neill’s Exorcism: The Lost Prequel to Long Day’s Journey Into Night

pp. 1-12

Kathleen O’Neill vs. Eugene G. O’Neill: Editor’s Note

pp. 13-27

Exorcism: The Context, the Critics, the Creation, and Rediscovery

pp. 28-38

Exorcism: A Play of Anti-Climax: Rebirth of a Play and a Playwright

pp. 39-50

The Long Journey of Exorcism: A Note on Provenance

pp. 51-55

Dramaturging the Dead: A Dramaturg’s Experience Excavating Eugene O’Neill’s Exorcism

pp. 56-64

(Surprised): A Brief Account of a Production of O’Neill’s Exorcism

pp. 65-71

Exorcism, or the Road Not Taken

pp. 72-82

O’Neill after Exorcism

pp. 83-86

A Touch of the Wrong Poet: Arthur Symons and the Ironizing of Tragedy in Beyond the Horizon

pp. 87-105

Book Reviews

Self and Space in the theater of Susan Glaspell by Noelia Hernando-Real (review)

pp. 106-110

Miles to Babylon: A Play in Two Acts by Ann Harson (review)

pp. 111-114

Performance Reviews


pp. 115-116

The Iceman Cometh by Robert Falls (review)

pp. 117-121

Long Day’s Journey Into Night by Anthony Page (review)

pp. 122-125

The Hairy Ape by Kate Budgen (review)

pp. 126-130

New Girl in Town by George Abbott (review)

pp. 131-135

Begotten: O’Neill and the Harbor of Masks by Derek Goldman (review)

pp. 136-139

Notes on Contributors

pp. 140-143