Mourning Becomes Electra
Mourning Becomes Electra is a play cycle written by American playwright Eugene O'Neill. The play premiered on Broadway at the Guild Theatre on 26 October 1931 where it ran for 150 performances before closing in March 1932, starring Lee Baker (Ezra), Earle Larimore (Orin), Alice Brady (Lavinia) and Alla Nazimova (Christine). In May 1932, it was unsuccessfully revived at the Alvin Theatre (now the Neil Simon Theatre) with Thurston Hall (Ezra), Walter Abel (Orin), Judith Anderson (Lavinia) and Florence Reed (Christine),[1] and, in 1972, at the Circle in the Square Theatre, with Donald Davis (Ezra), Stephen McHattie (Orin), Pamela Payton-Wright (Lavinia), and Colleen Dewhurst (Christine).[1]
This article is about the play by Eugene O'Neill. For the film starring Rosalind Russell, see Mourning Becomes Electra (film). For the opera, see Mourning Becomes Electra (opera).Mourning Becomes Electra
Themes[edit]
There are literary readings that classify Mourning Becomes Electra in the naturalism movement. This is based on O'Neill's focus on violent emotional states of men to emphasize the subconscious and inner spiritual forces[4] as well as man's inability to escape the cyclical pattern and outcomes of human action. Like the Oresteia, the play explored the theme of revenge, where the crime of the past determines the actions and the suffering of the protagonist in the present.[5] For this theme, some observers note that O'Neill's approach is more similar to William Shakespeare's outlook in Hamlet than Aeschylus' in Oresteia.[6]
O'Neill also differed with Aeschylus on the theme of fate and the role of the gods in the lives of men. In Oresteia, as was the case in the classical Greek tragedies, the divine is part of the environmental forces that humans cannot control but determine their fate. In O'Neill's interpretation, these forces are eliminated in favor of Freudian and Jungian psychology.[6]