St Ann’s Warehouse, New York
Oscar-nominated actor struggles to convince in an emotionally inert attempt to resurrect one of the playwright’s lesser-known works
Though it won a Pulitzer prize in 1922, Eugene O’Neill’s social melodrama Anna Christie is not among the venerated playwright’s most famous works. For the better part of a century, ambitious theater artists have endeavored to climb the mountains of Long Day’s Journey Into Night and The Iceman Cometh. Less so for Anna Christie, a strange piece about a supposedly ruined woman trying to get her life back in order.
It’s an interesting choice of vehicle for star Michelle Williams, making her return to the stage after a nine-year hiatus. Anna Christie is an erratic and now quite dated play, one whose moral outlook is hard to parse, its shifts in tone sudden and varied. There’s also the matter that at 45, Williams is about a quarter-century older than O’Neill’s heroine, who is meant to be a hardened and battered young woman trying to start her adult life on new footing.
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