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  1. The set they used in Norway was period, wicker furniture, throw rugs… with the added stylized element of 2 giant fake piles of books obviously made out of cardboard, sort of colored silver and black, on wheels – so they were moved around a few times to transition between acts. They were at the far back of the stage and gave a sort of cartoonish effect to the set, but piled on top of them were real books which were taken up and thrown around by Tyrone at one point in Act 3 (I think – they didn’t divide the play into its traditional 4 acts). I liked the set, but it didn’t leave anything to the imagination. I did not like that they had the “window” facing the audience, so that when the actors were supposed to be looking out the window they were looking out over the audience, which made it seem like they weren’t looking out of a window at all to me. But it was a superb performance by all 4 actors. There were 576 people in the audience, and my 9 students got to be the ones to go backstage and meet the cast. Brilliant!

  2. Rasma,

    Do let us know what the Norwegian production’s set for Long Day’s Journey Into Night looks like. I’d particularly like to hear if it is a naturalistic set design? By the way, I fell in love with Norway when I went there for an international Drama/Theatre in education conference back in 2001. Spent most of my time in Bergen. What a beautiful country!


  3. Thank you for this very interesting review. My class of advanced English lit is reading the play and we will be seeing a Norwegian performance with Liv Ulman. I will share your review with the class when we talk about set design and see what the Norwegian National Theatre comes up with as a set. William Hurt should be ashamed of himself!

  4. Absolutely spot on. A very perceptive review. A long and tedious production during which I was one of those in audience who had trouble keeping awake!