[caption id="attachment_30387" align="aligncenter" width="1260"]<img class="wp-image-30387 size-full" src="https:\/\/mountainmedianews.com\/wp-content\/uploads\/sites\/13\/2017\/11\/Leahs-play-review-pic.jpeg" alt="" width="1260" height="839" \/> (Photo Courtesy \/ Greenbrier Valley Theatre) Sara Morsey as Mary Tyrone, Max Arnaud as Jamie Tyrone, Cliff Miller as Edmund Tyrone and Richard McWilliams as James Tyrone in GVT\u2019s 2017 production of Long Day\u2019s Journey Into Night.[\/caption]\r\n<h1>When is the past both the present and the future and nothing that is said is actually spoken - it\u2019s when you are in the midst of Eugene O\u2019Neill\u2019s drama, Long Day\u2019s Journey Into Night.<\/h1>\r\nGreenbrier Valley Theatre (GVT) in downtown Lewisburg ran the Pulitzer and Tony Awarding winning play for three weeks, bringing to life a modern day version of ancient Greek fatalism at its best. O\u2019Neill\u2019s autobiographical drama depicts a family\u2019s struggle with despair and multiple addictions. Although the action occurs on the stage, do not expect to walk away unscathed. This performance prompts the audience to face truths about life and the unspoken damage that can occur over the course of a lifetime.\r\n\r\nThe stage, transformed into the sitting parlor of an early 20th century summer home, is where a day in the life of Mary and James Tyrone and their two sons, Jaime and Edmund, occurs. Mary has recently undergone treatment for a morphine addiction. As the day progresses the audience realizes she is falling off the wagon and is back into her morphine induced craze. The youngest son, on the other hand, is struggling with a \u201csummer cold,\u201d which is actually a serious case of consumption. James and his eldest son Jaime are doing their best to cover up both Mary\u2019s addiction and Edmund\u2019s predicament, while seeking out diversions of their own. The theme of what is spoken and what goes unspoken within this home reverberates throughout the performance.\r\n\r\nThe cast, including Sara Morsey as Mary, Richard McWilliams as James, Max Arnaud as Jaime, and Cliff Miller, playing the role of Edmund, exemplified the emotional undertones of each character. Mary, wrought with hidden resentments stemming from a past that she cannot let go of, shows how shame has both driven her to addiction and kept her there. Morsey was so successful bringing this to light; it is almost uncomfortable to watch this character\u2019s internal struggle. James, on the other hand, is angry with his eldest son, the character most like him, and his wife for her inability to fight her addiction. McWilliams carries this off while hinting to the audience of the characters love for whiskey and jovial partying nature, which the kitchen staff seems fond of.\u00a0 Jaime is the eldest son. Arnaud portrays him as the only family member honest about both Mary\u2019s addiction and his brother\u2019s health. However, he is not honest about his own character, another layer to the theme of what is spoken and what is not. Finally, Miller\u2019s version of Edmund is that of a young man worried about his mother\u2019s health above his own. Edmund is neither able to confront his mother nor let go of the past. When he finally is able to discuss his own health crisis with his mother, she in turn is unable to confront or accept it.\r\n\r\nThe entire performance ends, as we begin to understand, that there is no resolution to this family\u2019s cyclical despair. They are caught in a revolving regiment influenced by their own coping mechanisms and the combination of past and present, which shapes their futures.\r\n\r\nMary will continue to use morphine and James and Jaime will continue to seek out diversions, playing cards and drinking whiskey, both talking and not talking about the serious things. Jaime reveals that he has always been jealous of Edmund, and we know that Edmund must go off to fight consumption on his own in a sanitarium. This is not a \u201chappily ever after\u201d ending. But the audience must ponder that it may be a realistic ending.\r\n\r\nMary said it best, \u201cThe past is the present, isn\u2019t it? It\u2019s the future, too. We all try to lie out of that but life won\u2019t let us.\u201d As is true in life, the ending of this play does not gloss over the obvious painful truths regarding the past, which comes back over and over and yet is never reckoned with.\r\n\r\nWritten between 1940 and 1941, this play did not make it to the stage until 1956, and is considered to be one of O\u2019Neill\u2019s greatest works. The play is hailed for bringing drama back to the stage.