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Ben Hallman's Reviews > The Hairy Ape
The Hairy Ape
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Eugene O'Neill's The Hairy Ape works on multiple levels, making strong statements on class welfare and warfare, wanton commercialism, and man's basic need to simply belong. There's plenty of food for thought; symbolism abounds, and O'Neill's modernistic stage directions add an extra dimension of subversive weirdness to the goings-on. But (and I do feel quite odd criticizing a freaking Nobel Prize-winner) I feel this play loses its value as dramatic entertainment amidst its messages and depth. The subject matter great to think about, yet the actual story of the play seems, well, kinda silly.
O'Neill achieves quite a feat in turning the loud and bellicose Yank into a sympathetic figure. The guy's a jerk, and makes no excuses about being a jerk-- a majority of his lines come across as a series of vituperative threats towards the world at large-- yet he endears himself to the audience as he struggles to make sense of his diminutive life in the face of his growing perception of the world that surrounds him. Poor Yank wants to belong, but is continuously struck down by the societal forces that O'Neill presents as harsh and dehumanizing. I'm still on the fence about his death-- good symbolism, curious presentation, a simian deus ex machina?-- but Yank's character arc serves as a fascinating look at a somewhat solipsistic laborer being confronted with his own meaninglessness.
The dialog between Mildred Douglas and her Aunt is great; these two awful people are absolutely awful to each other, and their bitching and sniping plays well for a modern generation raised amongst the comedic miscreants of Seinfeld and It's Always Sunny In Philadelphia. Her character's abrupt exit from the story leaves me wanting, though. Don't get me wrong-- I'm glad the play doesn't fall into the trite melodrama the ratbastard movie version presents-- but after the strong impression she makes in her one full scene, her presence becomes a notable absence as we're introduced to the dull, static characters of the later acts.
These later characters are what give me the most trouble with the play. O'Neill departs from developing traits and personalities for those onstage, rather using them as simple tools to help present his point. The prisoners, the IWW members-- none are given any individuality or personality beyond that needed to move Yank along to his next disappointment. O'Neill gets too caught up in message, and the drama suffers for it, becoming dull and preachy in the final scenes before reaching its odd, ironic conclusion.
Finding a performance of The Hairy Ape to watch is a bit of a difficulty-- most of what is available online seems to be amateur JuCo productions more concerned with their own presentation than showing O'Neill's true intentions. And that movie-- good god, it sucks, and shits all over the message O'Neill's work conveys. So I can't find a way to watch a stage production of The Hairy Ape, which means I'm left with only a half-perspective on what O'Neill intends. I'm willing to believe that the play gains a good bit from being watched and not read, and hopefully I'll be able to bump up the rating after a good viewing.
O'Neill achieves quite a feat in turning the loud and bellicose Yank into a sympathetic figure. The guy's a jerk, and makes no excuses about being a jerk-- a majority of his lines come across as a series of vituperative threats towards the world at large-- yet he endears himself to the audience as he struggles to make sense of his diminutive life in the face of his growing perception of the world that surrounds him. Poor Yank wants to belong, but is continuously struck down by the societal forces that O'Neill presents as harsh and dehumanizing. I'm still on the fence about his death-- good symbolism, curious presentation, a simian deus ex machina?-- but Yank's character arc serves as a fascinating look at a somewhat solipsistic laborer being confronted with his own meaninglessness.
The dialog between Mildred Douglas and her Aunt is great; these two awful people are absolutely awful to each other, and their bitching and sniping plays well for a modern generation raised amongst the comedic miscreants of Seinfeld and It's Always Sunny In Philadelphia. Her character's abrupt exit from the story leaves me wanting, though. Don't get me wrong-- I'm glad the play doesn't fall into the trite melodrama the ratbastard movie version presents-- but after the strong impression she makes in her one full scene, her presence becomes a notable absence as we're introduced to the dull, static characters of the later acts.
These later characters are what give me the most trouble with the play. O'Neill departs from developing traits and personalities for those onstage, rather using them as simple tools to help present his point. The prisoners, the IWW members-- none are given any individuality or personality beyond that needed to move Yank along to his next disappointment. O'Neill gets too caught up in message, and the drama suffers for it, becoming dull and preachy in the final scenes before reaching its odd, ironic conclusion.
Finding a performance of The Hairy Ape to watch is a bit of a difficulty-- most of what is available online seems to be amateur JuCo productions more concerned with their own presentation than showing O'Neill's true intentions. And that movie-- good god, it sucks, and shits all over the message O'Neill's work conveys. So I can't find a way to watch a stage production of The Hairy Ape, which means I'm left with only a half-perspective on what O'Neill intends. I'm willing to believe that the play gains a good bit from being watched and not read, and hopefully I'll be able to bump up the rating after a good viewing.
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Reading Progress
Started Reading
March 7, 2013
–
Finished Reading
March 21, 2013
– Shelved
