Audra McDonald and Will Swenson

O'Neill set this play, taking place in 1923, at the Connecticut farmhouse owned by the Tyrone family. The Hogans are tenants. Ming Cho Lee, the esteemed set designer who holds the National Medal of the Arts, depicts the home and exterior, some uneven ground, a large rock, and some half-barren trees, and rakes it all toward the audience. His original design is restored and adapted by Lee Savage. Mike Hogan (Howard W. Overshown), the youngest Hogan son, follows in his older brothers' footsteps, and leaves the area. Josie needs to stand tall to her father, Phil Hogan (Glynn Turman). Mike was concerned that Jim Tyrone would sell the place, which had been a part of Jim's now-deceased mother's estate. Josie thinks Jim will not do so. T. Stedman Harder (Aaron Costa Ganis), a wealthy neighbor, comes by and a dispute follows. Foreshadowing indicates that Josie and Jim, a perpetual drinker, have feelings for one another. Phil has already advised his daughter, "Use your wit to catch him." Much of the first act features interplay between Josie and the strong-minded Phil. Turman, who acted on Broadway in 1959 in Raisin in the Sun and on television's "The Wire," is a distinctive performer, who catches attention even if this portion of the O'Neill play is so wordy for quite a while.

Audra McDonald (Lady Day at Emerson's Bar & Grill, Ragtime, and so on) is a six time Tony Award winner and many revere her for her voice and musicality. Her versatility and range oftentimes set her apart. She has never been in a professional production of an O'Neill play and the role of Josie is a daunting one. Through her physicality (her carriage and her steps) and aura, she takes on Josie as her own character. This portrait demands unwavering attention—it is important to take in her every gesture. Swenson has been featured on Broadway in musicals such as Les Misérables and Hair. He has also appeared in dramas; the current role insists that he unveil many moods. Swenson more than obliges, his performance including many crescendos.

It is not every evening in the theater that a given scene completely enthralls and transfixes. Here is a wish that everyone could take in, after intermission at the Williamstown production, the closeness the two protagonists actors show for and with one another. The delivery is unhurried, compassionate and precious. McDonald lovingly places her strong arms about Swenson and he grasps her hands—knowingly. The fully realized sequence, amid loneliness, is pervasive.

Gordon Edelstein, Artistic Director of Long Wharf Theatre in New Haven, has come to Williamstown and directs with care and understanding. He makes intriguing musical choices. One hears a solo, plaintive piano which benefits from John Gromada's sound design. Throughout, Jennifer Tipton's lighting actively assists with atmosphere. Jane Greenwood's wardrobe selections are excellent.

O'Neill originally wrote the Hogans as white Irish people. Edelstein employs African-American actors in those roles. This is most illuminating. Sometimes directors are quite appropriately invisible as a production transpires. In this case, most positively, one senses Edelstein's presence and comprehension of the play. He infuses this tragedy with humanity—and there is a gracious dignity to the piece, even within the midst of Jim's alcoholic oblivion.

When A Moon for the Misbegotten is alluded to in a conversation, the 1973 Broadway revival with Jason Robards and Colleen Dewhurst is (not surprisingly) noted. Until I saw the current production, my foremost image was that of actress Frances McDormand as Josie, at Yale Repertory Theatre about 25 years ago. Audra McDonald is undeniably galvanic and memorable, now, in that role. Will Swenson, in a way, has an even more difficult task. O'Neill's early expositions seem unending and James Tyrone is "caught" in one as Misbegotten unfolds. During the second act, Swenson is afforded the opportunity to navigate and reveal his emotions. He does so with a careful combination of touch and skill.

A Moon for the Misbegotten continues on the Main Stage at the Williamstown Theatre Festival in Williamstown, Massachusetts through August 23rd, 2015. For tickets, call (413) 597-3400 or visit www.wtfestival.org.

Photo: T Charles Erickson

- Fred Sokol