Anna Christie

Anna Christie" at St. Ann's Warehouse play written by Eugene O'Neil and for the most part is good. The acting by Brian D'Arcy James and Tom Sturridge is excellent; as is Mare Winningham, although she is not on stage for very long in this two hour-thirty minute show.

Director Thomas Kail (Sweeney Todd) brings a different twist to the play for several reasons: Mat Burke (Sturridge) is a more violent person then originally written by O'Neil; Anna (Michelle Williams) is older than the book originally had Anna portrayed. These two big differences never hurt the show, in fact Burke is more interesting here than the past "Anna Christie" plays that have been produced. He is a religious man from Ireland, however, he is quick to anger when he does not see eye-to-eye with a situation. The original Burke is a brawny man who has a gentile soul. This Burke keeps the audience on edge. We never know what he is going to do next, and that is part of the allure of this "Christie". Williams as an older Anna never gets it right as the tough talking, tough minded woman who only cares what she thinks about herself. Williams accent goes in and out, where James and Sturridge keep their accents solid throughout the performance.

In a three quarter round stage, Kail is able to keep the action moving throughout the entire performance. The sets by Jones and Banakis are interesting and very much part of the show. The set s are never overbearing and always relevant to the stories action. So too is the lighting by Natasha Katz. The lighting is never overbearing but is supportive to both the actors and the sets. I would have chosen different colors at times but Katz does an admirable job here.

Paul Tazewell's costumes are first rate. He straddles the conventional costuming with the modern era of this great O'Neil play. Nevin Steinberg has a fantastic sound design to the play. Macabre at times, forceful at others, his sound enhances the action onstage.

n a three quarter round stage, Kail is able to keep the action moving throughout the entire performance. The sets by Jones and Banakis are interesting and very much part of the show. The set s are never overbearing and always relevant to the stories action. So too is the lighting by Natasha Katz. The lighting is never overbearing but is supportive to both the actors and the sets. I would have chosen different colors at times but Katz does an admirable job here.

Paul Tazewell's costumes are first rate. He straddles the conventional costuming with the modern era of this great O'Neil play. Nevin Steinberg has a fantastic sound design to the play. Macabre at times, forceful at others, his sound enhances the action onstage.

Although "Anna Christie" is not as much produced as some of O'Neil's other works: "The Iceman Cometh" and "Long Day's Journey into Night"; "Anna Christie" is as deep and dark as many of his other works like: "A Moon For The Misbegotten" and "Desire Under The Elms". Much like Tennessee Williams, O'Neil has an uncanny knack for writing about the downtrodden to a point it almost seems absurd.

I did not go into this show expecting much as some of my fellow critics hit this one hard. I was pleasantly surprised how much I liked it. The staging and acting were for the most part very good. Like NYTW, St.Anne's has gotten a reputation of being too "Woke". This play was anything but that. It was bare knuckles and out-front. Whereas, Matt Ross and NYTW have gone and stayed "Woke", St. Anne's really stepped up with this play!

Eugene O'Neil, Alpha Sigma Lambda, Robert Massimi, Gertrude Stein, "Anna Christie", A Long Day's Journey Into Night", The Iceman Cometh, Tennessee Williams, Brian D'Arcy James, Michelle Williams.