Page numbers in italics refer to illustrations.
Abbey Theatre (Dublin, Ireland). See Irish Players
Abortion (1914), (i), (ii), (iii)
Actors’ Repertory Company, (i)
Actors’ Theater, (i)
Agee, James, (i)
Ah, Wilderness! (1932), (i), (ii), (iii), (iv), (v), (vi), (vii), (viii)n161
Aitken, Harry E., (i)
Akins, Zoë, (i)
Albee, Edward, (i)
Albertoni, Kathryne, (i), (ii), (iii), (iv), (v), (vi)
alcohol: isolation/loneliness feelings and, (i), (ii); Jimmy the Priest’s, (i), (ii), (iii), (iv); Jim O’Neill and, (i), (ii), (iii); Louise Bryant and, (i), (ii), (iii); notable binges, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix), (x), (xi), (xii), (xiii), (xiv)n143, (xv)n155; O’Neill autopsy and, (i); O’Neill hangovers, (i); Prohibition, (i), (ii), (iii); Provincetown drinking, (i), (ii), (iii), (iv), (v); psychiatric treatment for, (i), (ii); Raines Law, (i); rhythm of dialogue and, (i); sobriety attempts, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix), (x)
All God’s Chillun Got Wings (1923), (i), (ii), (iii), (iv), (v), (vi), (vii), (viii)n127
American Laboratory Theatre, (i)
Ancient Mariner, The (1924, arr. O’Neill), (i), (ii)
Anderson, John, (i)
And Give Me Death (1938, unfinished), (i)
“Anna Christie” (1920), (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix)
Archer, William, (i)
Ash Can School, (i)
Ashe, Beatrice, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii)
Ashleigh, Charles, (i)
atheism, (i), (ii), (iii), (iv). See also Catholicism
Atkinson, J. Brooks, (i), (ii), (iii), (iv), (v)
Babbitt (Lewis), (i)
Baird, James, (i)
Baird, Peggy, (i)
Baker, George Pierce, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix)n198
Barnes, Albert Coombs, (i)
Barnes, Clive, (i)
Barnes, Djuna, (i), (ii), (iii)
Batson, Alfred, (i)
Beck, Martin, (i)
Before Breakfast (1916), (i), (ii)
Belasco, David, (i), (ii), (iii)
Belgrade Lakes (Maine), (i), (ii), (iii)
Bellows, George, (i)
Belshazzar (1914, with Colin Ford), (i)
Benchley, Robert C., (i), (ii)
Bennett, Richard, (i)
Benny, Jack, (i)
Bergman, Ingrid, (i)
Berkman, Alexander, (i)
Berlin, Irving, (i)
Bermuda, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix), (x)
Bernard, Claude, (i)
Beyond the Horizon (1918), (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix), (x), (xi)
Bisch, Louis E., (i)
Blair, Mary, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii)
Blinn, Holbrook, (i)
Booth, Edwin, (i)
Boulton, Agnes (second wife): abortion, (i); abuse and marital strife, (i), (ii), (iii), (iv), (v), (vi); biography of O’Neill, (i); Boulton family, (i), (ii); Carlotta Monterey and, (i), (ii), (iii), (iv), (v)n285; children, (i), (ii), (iii); death, (i); divorce, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix), (x), (xi), (xii), (xiii); on The Dreamy Kid, (i); Ella O’Neill death and, (i), (ii); Exorcism script and, (i), (ii), (iii); Experimental Theatre and, (i), (ii); Great Depression effect on, (i); Lou Holladay death and, (i); Louise Bryant and, (i), (ii); marriage, (i), (ii), (iii), (iv), (v), (vi); O’Neill drinking and, (i), (ii), (iii), (iv), (v), (vi)n155; on O’Neill’s suicide attempt, (i); photograph, (i), (ii); Provincetown Players and, (i); Welded references to, (i); as writer, (i), (ii), (iii)
Bound East for Cardiff (1914), (i), (ii), (iii), (iv), (v), (vi), (vii)n11
Bowen, Croswell, (i)
Boyce, Neith, (i), (ii), (iii)
Boyd, Fred, (i)
Boyesen, Bayard, (i), (ii), (iii), (iv), (v)n3
Boyle, T. Coraghessan, (i)
Brady, Alice, (i)
Brando, Marlon, (i)
Bread and Butter (1914), (i), (ii), (iii)n196
Brennen, Agnes (cousin), (i)
Brenon, Juliet, (i)
“Bridegroom Weeps! The” (poem, ca. 1910; revised 1917), (i), (ii), (iii), (iv), (v), (vi)n78
Broadway theater, (i), (ii), (iii), (iv), (v), (vi), (vii)
Brook Farm (Connecticut), (i), (ii), (iii), (iv), (v)
Broun, Heywood, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii)
Brown, John Mason, (i), (ii), (iii)
Brown, J. W., (i)
Brown, Susan Jenkins, (i)
Bryant, Louise: Agnes Boulton and, (i), (ii); The Game production, (i); marriage, (i); O’Neill affair with, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix), (x), (xi)n47; O’Neill productions and, (i), (ii), (iii); as war journalist, (i), (ii)
Bryer, Jackson R., (i)
Buenos Aires, (i)
Bull, John, (i)
Burns, Ric, (i)
Burt, Frederick, (i)n11
Burton, Barbara “Cookie” (stepdaughter by Agnes Boulton), (i), (ii), (iii)
Buss, Kate, (i)
Byth, James Findlater, (i), (ii), (iii), (iv), (v), (vi)
“By Way of Obit” one-act series (begun 1942), (i)
Caldwell, Erskine, (i)
Cap-d’Ail (France), (i)
Čapek, Karel, (i)
Carlin, Terry, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix), (x), (xi)n3
Casa Genotta (Georgia), (i), (ii), (iii), (iv), (v), (vi), (vii)
Casey, Walter “Ice,” (i), (ii), (iii)
Casseres, Benjamin De, (i), (ii)
Catholicism: All God’s Chillun and, (i); Anna Christopherson as non-Catholic, (i); Days Without End and, (i); drug addiction of Ella and, (i); in Hairy Ape, (i); Irish ethnic and class prejudice and, (i); in Long Day’s Journey, (i); in Moon for the Misbegotten, (i); O’Neill spiritual struggles, (i), (ii). See also atheism
Cawein, Madison, (i)
Cerf, Bennett, (i), (ii), (iii), (iv)
Chains of Dew (Glaspell), (i)
Chaplin, Charlie, (i), (ii), (iii), (iv), (v)
Chaplin, Eugene (granddaughter), (i)
Chapman, Cynthia (daughter-in-law by Carlotta Monterey), (i), (ii), (iii), (iv), (v), (vi), (vii)
Chapman, John, (i)
Château du Plessis (France), (i), (ii), (iii), (iv), (v)n78
Children of the Sea (1914), (i), (ii). See also Bound East for Cardiff
Chris (production title of Chris Christopherson). See Chris Christophersen
Chris Christophersen (1919), (i), (ii), (iii), (iv), (v), (vi), (vii), (viii)
cinema: Hollywood studio system, (i), (ii); Ingrid Bergman encounter and, (i); The Life of General Villa (Aitken), (i); Monte Cristo film adaptation, (i); Reds depiction of Louise Bryant affair, (i); “talkies” development, (i), (ii)
—adaptations: Ah, Wilderness! (i), (ii), (iii)n161; “Anna Christie,” (i); The Emperor Jones, (i), (ii), (iii)n242; The Hairy Ape, (i), (ii); The Long Voyage Home, (i), (ii)n137; Strange Interlude, (i), (ii)
Clark, Barrett H., (i), (ii), (iii), (iv), (v), (vi), (vii)
Clark, Fifine “Gaga,” (i), (ii), (iii), (iv)
Clark, Mary A., (i), (ii), (iii)
class: Emperor Jones philosophical anarchism and, (i); Hairy Ape IWW references, (i); interclass romance, (i); Marco Millions class satire, (i); New London class tensions, (i); O’Neill money-obsessed characters, (i); working class representations, (i), (ii), (iii). See also philosophical anarchism; radicalism
classical drama, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii)
Close the Book (Glaspell), (i)
Clurman, Harold, (i)
Cody, William F. Col. “Buffalo Bill,” (i), (ii)
Cohan, George M., (i)
Coleman, Alta M., (i)
Coleridge, Samuel Taylor, (i)
Collins, Hutchinson, (i), (ii), (iii)
Commins, Saxe, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix), (x), (xi)
Condon, James J. (Jimmy the Priest), (i), (ii)
Connell, Leigh, (i)
Connor, William, (i)
Conrad, Joseph, (i)
Cook, George “Jig” Cram: acting roles, (i), (ii), (iii); death, (i), (ii); fusion of theatrical elements approach, (i); at O’Neill audition, (i); as O’Neill director, (i), (ii), (iii), (iv), (v)n245; as O’Neill drinking partner, (i), (ii); Provincetown lifestyle, (i), (ii); Provincetown Players disbanding and, (i), (ii); The Spring writing, (i); theatrical ambition and facility, (i); Washington Square Players, (i), (ii), (iii)
Coolidge, Calvin, (i)
Crane, Hart, (i), (ii), (iii), (iv)nn11
Croak, Jack, (i)
Crothers, Rachel, (i)
Cummings, E. E., (i)n73
Cuthbert, Alice, (i)
Dafoe, Willem, (i)n7
Day, Dorothy, (i), (ii), (iii), (iv)n95
Days Without End (1933), (i), (ii), (iii), (iv), (v), (vi), (vii)
Dear Doctor (1914), (i)
Dell, Floyd, (i)
Dennehy, Brian, (i)
Desire Under the Elms (1924), (i), (ii), (iii), (iv), (v), (vi), (vii), (viii)
Dewhurst, Colleen, (i)
Diff’rent (1920), (i), (ii), (iii), (iv)
Dillman, Bradford, (i)
Dodge, Mabel, (i), (ii), (iii), (iv), (v), (vi)n47
Dolan, John “Dirty,” (i), (ii)
Donnelly, Gerard B., (i)
Dorsey, Tom, (i)
Dostoyevsky, Fyodor, (i), (ii)
Dowling, Eddie, (i)
Dreamy Kid, The (1918), (i), (ii), (iii), (iv)
Dreiser, Theodore, (i), (ii), (iii), (iv), (v), (vi), (vii)n5
Drinkwater, John, (i)
Druilard, Jack, (i)
Du Bois, W. E. B., (i)
Dynamo (1928), (i), (ii), (iii), (iv), (v), (vi)
Eldridge, Florence, (i)
Eliot, T. S., (i)
Ell, Christine, (i), (ii), (iii), (iv)
Ell, Louis, (i)
Emperor Jones, The (1920): class themes, (i); expressionism and, (i); film version, (i), (ii), (iii)n242; Gilpin in, (i), (ii), (iii); Langston Hughes and, (i)n268; operatic production, (i); parody of, (i); plot, (i); production, (i), (ii), (iii), (iv), (v), (vi)n245, (vii)n116; racial themes, (i), (ii), (iii), (iv), (v)n116; as radical play, (i); reviews, (i); Robeson in, (i), (ii), (iii); use of masks, (i); writing of, (i), (ii)
Ervine, St. John, (i), (ii), (iii), (iv)n14, (v)n211
Eternal Quadrangle, The (Reed), (i)
Evans, Olive, (i)
existentialism, (i)
Exorcism (1919), (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix), (x)n117. See also suicide attempt
Experimental Theatre, Inc., (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix), (x), (xi)
expressionism, (i), (ii), (iii), (iv), (v), (vi)n5
Federal Bureau of Investigation, (i), (ii), (iii)
feminism, (i), (ii), (iii), (iv)
film. See cinema
First Man, The (1921), (i), (ii), (iii), (iv), (v), (vi), (vii)
Fitzgerald, F. Scott, (i)
Fitzgerald, M. Eleanor, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii)n73
Fitzgerald, Zelda, (i)
Ford, Colin, (i)
Fountain, The (1922), (i), (ii), (iii), (iv), (v), (vi), (vii)
Francis, John, (i), (ii), (iii)
Freeman, Elaine, (i)
Freud, Sigmund, (i), (ii), (iii), (iv), (v), (vi), (vii)
Gabriel, Gilbert W., (i), (ii)
Gallant, Barney, (i), (ii), (iii)n65, (iv)n121
Gálvez, Manuel, (i)
G.A.N., The (”The Great American Novel”; 1917), (i)
Garbo, Greta, (i)
Gaylord Farm Sanatorium, (i), (ii), (iii), (iv). See also Straw, The
Gelb, Arthur and Barbara, (i)n143
Gierow, Karl Ragnar, (i)
Gilbert, Ruth, (i)
Gilder, Rosamond, (i)
Gilpin, Charles S., (i), (ii), (iii), (iv)
Glaspell, Susan, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix), (x)
Glencairn, S.S., series, (i), (ii), (iii), (iv), (v), (vi), (vii)n137
Goethe, Johann Wolfgang von, (i)
Gold, Mike, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii)n28, (ix)n31
Golden, Harry, (i)
Goldman, Emma, (i), (ii), (iii), (iv), (v)
Great Depression, (i), (ii), (iii), (iv), (v)
Great God Brown, The (1925), (i), (ii), (iii), (iv), (v), (vi), (vii)
Greed of the Meek (historical Cycle, begun 1938), (i), (ii), (iii), (iv), (v), (vi)n240. See also More Stately Mansions; Touch of the Poet, A
Gregory, Lady Augusta, (i), (ii), (iii)
Group Theatre, (i)
Hair of the Dog, The (1935, unfinished), (i)
“Hairy Ape, The” (1917 short story), (i), (ii), (iii)
Hairy Ape, The (1921): affiliation with the dispossessed, (i); Broadway production, (i), (ii), (iii), (iv); censorship attempts, (i); Driscoll as inspiration for, (i), (ii); film adaptation, (i), (ii); international success, (i); meaning of, (i); political references in, (i), (ii), (iii); production, (i), (ii), (iii), (iv)n7; Provincetown Players’ disbanding and, (i), (ii); reviews, (i), (ii); Scopes trial allusions, (i); stoker-seaman class division in, (i), (ii); super-naturalism in, (i), (ii), (iii); use of masks, (i); writing of, (i); “Yank” Smith character, (i), (ii), (iii), (iv), (v)
Hale, Ruth, (i)
Hamilton, Clayton, (i), (ii), (iii), (iv), (v)
Hamilton, Gilbert V., (i)
Hammond, Edward C., (i)
Hanau, Stella, (i)
Hansberry, Lorraine, (i)
Hapgood, Hutchins, (i), (ii), (iii), (iv), (v), (vi), (vii)
Harkness, Edward S., (i), (ii)
Harrison, Hubert H., (i)
Harvard University (English 47 Seminar), (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix)n198
Havel, Hippolyte, (i), (ii), (iii), (iv)
Hawthorne, Hazel, (i)
Hays, Blanche, (i)
Haywood, William “Big Bill,” (i)
Helburn, Theresa, (i), (ii), (iii)
Hell Hole (Golden Swan Cafe): clientele/characters, (i); description, (i), (ii); as Iceman setting, (i), (ii)n90; Joe Smith character and, (i), (ii), (iii), (iv); Lou Holladay death and, (i); Playwrights’ Theatre and, (i), (ii); Prohibition and, (i); sobriety of 1926 and, (i)
Hellman, Lillian, (i), (ii), (iii)
Henri, Robert, (i)
Herne, James A., (i)
Hill, Frederick, (i)
Hitler, Adolf, (i), (ii), (iii)
Hoboken Blues (Gold), (i)
Hogarth, Leona, (i)
Holladay, Louis “Lou,” (i), (ii), (iii), (iv), (v), (vi)
Holladay, Paula “Polly,” (i), (ii), (iii)
Hong Kong (trip of 1928), (i)
Hopkins, Arthur, (i), (ii), (iii), (iv)
Hopper, Edward, (i)
Hound of Heaven, The (Francis Thompson), (i), (ii), (iii), (iv)
Howard, Sidney, (i), (ii), (iii)
Hughes, Howard, (i)
Hughes, Langston, (i)n268, (ii)n127
Hughie (1941), (i), (ii), (iii), (iv)
Huston, Walter, (i)
Hwang, David Henry, (i)
Ibsen, Henrik, (i), (ii), (iii), (iv), (v), (vi)
Iceman Cometh, The (1939): African American audience ban, (i); American Dream theme in, (i), (ii); “The Bridegroom Weeps!” references, (i); dispossessed characters, (i), (ii); Exorcism as precursor, (i); financial success, (i); Garden Hotel characters, (i); Great Boer War Spectacle and, (i); Hell Hole characters, (i), (ii), (iii); hopeless hope theme sources, (i); Jimmy the Priest’s as setting, (i), (ii), (iii), (iv); Meserve affair and, (i); press conference, (i), (ii); production, (i), (ii), (iii), (iv), (v), (vi); reviews, (i), (ii), (iii)n211; title of, (i); World War II and, (i), (ii); writing of, (i), (ii)
Independent Artists, (i)
Industrial Workers of the World, (i)
Inge, William, (i)
In the Zone (1917), (i), (ii), (iii), (iv), (v), (vi)
Ireland/Irishness: All God’s Chillun death threat and, (i); Hairy Ape references to, (i); The Hound of Heaven study, (i); Irish Academy of Letters, (i); Irish alcoholic syndrome, (i); “Irish Luck Kid” nickname, (i), (ii); Irish Renaissance, (i); Long Day’s Journey references to, (i); New London ethnic tensions, (i); O’Neill as “Black Irish,” (i), (ii), (iii); O’Neill as Irish radical, (i); O’Neill Irish heritage, (i); A Touch of the Poet and, (i); World War II and, (i)
Irish Players (Abbey Theatre, Dublin), (i), (ii), (iii), (iv)n14
“It Cannot Be Mad” (1928, unfinished), (i)
James, Patterson, (i)
Jenkins, Kathleen (first wife): Carlotta Monterey and, (i); correspondence of 1919, (i); divorce, (i), (ii), (iii), (iv), (v); Eugene Jr. and, (i), (ii), (iii), (iv), (v); Exorcism and, (i), (ii), (iii), (iv); George Pitt-Smith marriage, (i); Long Day’s Journey and, (i); O’Neill last encounter, (i); O’Neill remorse for abandonment of, (i), (ii), (iii); photograph, (i); pregnancy and marriage, (i)
Jimmy the Priest’s (Jimmy’s Hotel and Café), (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix), (x), (xi), (xii)n90
Johnson, Etta, (i)
Johnson, Howard Deering, (i)
Johnson, James Weldon, (i), (ii), (iii)
Johnston, William, (i)
Jolson, Al, (i)
Jones, James Earl, (i)n242
Jones, Robert Edmond: on dialogue in O’Neill, (i); Experimental Theatre and, (i), (ii); “new stagecraft” set design, (i); O’Neill drinking and, (i); productions, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix), (x), (xi), (xii)n245; at Provincetown, (i), (ii); Tao House visit, (i)
Joyce, James, (i), (ii), (iii), (iv)
Kaczynski, Theodore “Ted,” (i)nn12
Kahn, Otto, (i)
Keane, Doris, (i)
Keefe, Ed, (i), (ii), (iii), (iv)
Kemp, Harry, (i), (ii), (iii), (iv), (v)
Kenton, Edna, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix), (x), (xi)
Kerr, Walter, (i)
Kingsley, Sidney, (i)
Knock On the Door, The (1914), (i)
Komroff, Manuel, (i)
Krutch, Joseph Wood, (i), (ii), (iii)
Lane, Nathan, (i)
Langner, Lawrence, (i), (ii), (iii)
Larned, W. Livingston, (i), (ii)n165
Latimer, Frederick P., (i), (ii)
Lawson, John Howard, (i)
Lazarus Laughed (1926), (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix), (x)n201
Lewis, Gladys (George Lewys), (i)
Lewis, Sinclair, (i), (ii), (iii), (iv)
Lewis, William H., (i)
Lewisohn, Sam, (i)
Light, James “Jimmy”: Carlotta Monterey and, (i); Carlyle Hotel visit, (i); on expressionism, (i); introduction, (i); as O’Neill director, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii)n245; O’Neill disenchantment with drama and, (i); as Provincetown Player, (i), (ii), (iii), (iv); on The Straw, (i); use of masks, (i), (ii), (iii), (iv), (v)
Locke, Alain, (i)
London, Jack, (i), (ii), (iii), (iv), (v)n229
Long Day’s Journey Into Night (1941): awards, (i); characters, (i), (ii), (iii); death of Eugene Tyrone, (i); depiction of madness in, (i); Edmund character, (i), (ii), (iii), (iv), (v), (vi); Exorcism as precursor, (i), (ii); Fairfield County Home sanatorium in, (i); inscription to Carlotta in, (i); James character, (i), (ii), (iii), (iv), (v); Jimmy the Priest mentioned in, (i); Mary character, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii); monologue on freedom, (i); New London depiction, (i), (ii); plot, (i); production, (i), (ii), (iii), (iv), (v); publication/production stipulations, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii); religion in, (i), (ii), (iii); reviews, (i), (ii); Saxe Commins friendship and, (i); writing of, (i), (ii), (iii), (iv)
Long Voyage Home, The (1917), (i), (ii), (iii), (iv), (v), (vi), (vii)
Lyman, David Russell, (i)
Macgowan, Kenneth: Agnes Boulton and, (i); Château du Plessis article, (i); Desire plagiarism charge and, (i); Eugene Jr. meeting and, (i); as Experimental Theatre founder, (i), (ii), (iii); Gilpin Drama League award and, (i); on The Hairy Ape, (i); Oona birth and, (i); reviews, (i), (ii), (iii), (iv), (v), (vi), (vii); on Welded, (i)
MacKay, Catherine Anna “Kitty,” (i), (ii)
MacKaye, Percy, (i)
MacKellar, Helen, (i)
Madden, Richard J., (i), (ii), (iii)
Mamet, David, (i)
Mann, Theodore, (i)
Mann, Thomas, (i)
Mantle, Burns, (i)
Marblehead (Massachusetts), (i)
Marbury, Elizabeth “Bess,” (i), (ii)
March, Fredric, (i)
Marco Millions (1925), (i), (ii), (iii), (iv), (v), (vi), (vii), (viii)
Markham, Kyra, (i)
Markham, Marcella, (i)
Marshall, Armina, (i)
Marx, Grocho, (i)
Masefield, John, (i)
Maurier, George du, (i)
McAteer, M. A., (i)
McGee, Harold, (i)
McGinley, Art, (i), (ii), (iii)
McKay, Claude, (i)
Mellon, Andrew W., (i)
melodrama, (i), (ii), (iii), (iv), (v), (vi). See also style; theater
Mencken, H. L., (i), (ii), (iii), (iv)n5
Mephistopheles, (i)
Meserve, Donald Vose, (i)
Metcalf, Laurie, (i)
Millay, Edna St. Vincent, (i), (ii)
Miller, Nat, (i)
Mirren, Helen, (i)
“Mob” play (begun 1926, unfinished), (i)
Moeller, Philip, (i), (ii), (iii)
Moise, Nina, (i), (ii), (iii), (iv)
Mollan, Malcolm “Mal,” (i), (ii)
Molnár, Ferenc, (i)
Monte Cristo, (i), (ii), (iii), (iv), (v), (vi), (vii)n6
Monte Cristo (film adaptation), (i)
Monte Cristo Cottage, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix)n14
Monterey, Carlotta (third wife): auto accident trial, (i); biographical sketch, (i); Boulton divorce and, (i); at Casa Genotta, (i), (ii); at Château du Plessis, (i), (ii); as custodian of O’Neill papers, (i), (ii); death, (i); diaries by, (i); disdain for Moon for the Misbegotten, (i); early encounters with O’Neill, (i), (ii); embrace of Catholicism, (i); European sojourn, (i), (ii); fondness for opulence, (i), (ii); Hairy Ape role, (i), (ii), (iii), (iv); historical legacy of, (i); Hong Kong trip, (i); hospitalization of, (i); on Ingrid Bergman, (i); Long Day’s Journey publication/production, (i), (ii), (iii), (iv); mental breakdown of, (i); O’Neill affair with, (i), (ii), (iii), (iv); O’Neill death and, (i); O’Neill illness and, (i); O’Neill inscriptions to, (i), (ii), (iii); O’Neill marriage, (i); as O’Neill partner-protector, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix), (x); on O’Neill’s childhood, (i); on O’Neill’s moral philosophy, (i); O’Neill violence towards, (i), (ii), (iii), (iv); personality of, (i), (ii); racial/political prejudices, (i), (ii), (iii), (iv); Ralph Barton suicide and, (i); relationship with O’Neill children, (i)
Moon for the Misbegotten, A (1943), (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix), (x)
Moon of the Caribbees, The (1917), (i), (ii), (iii), (iv), (v), (vi), (vii), (viii)
Morehouse, Ward, (i)
More Stately Mansions (1939), (i), (ii), (iii), (iv), (v)
Mourning Becomes Electra (1931), (i), (ii), (iii), (iv), (v), (vi)n114
Movie Man, The (1914), (i), (ii), (iii), (iv), (v), (vi), (vii)n11
Murphy, Brenda, (i)n47
Murphy, Dudley, (i)n242
Nantucket Island (Massachusetts), (i)
Nathan, Adele, (i)
Nathan, George Jean: All God’s Chillun publication, (i), (ii), (iii); “The American Playwright” article on O’Neill, (i); as American Spectator editor, (i); on American theater, (i); Carlotta Monterey and, (i); censorship attempts and, (i); comments on plays, (i), (ii), (iii), (iv), (v); Dynamo letter publication, (i); O’Neill affiliation with, (i); on O’Neill’s personality, (i), (ii); Pulitzer Prize prank, (i); reviews, (i), (ii), (iii), (iv), (v), (vi), (vii)
naturalism, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix)n5
Neilson, Adelaide, (i)
Nelson, Alice, (i)
New London (Connecticut): Ah, Wilderness! characters from, (i); “Doc” Ganey’s “Second Story Club,” (i), (ii); Driscoll connection to, (i); in Long Day’s Journey, (i), (ii); Maibelle Scott courtship, (i), (ii); “Monte Cristo” sites in, (i)n14; in Mourning, (i), (ii)n114; New London Telegraph, (i), (ii), (iii), (iv), (v), (vi); O’Neill upbringing in, (i); Pink House, (i), (ii); The Straw Lyceum Theatre production, (i), (ii). See also Monte Cristo Cottage
New Orleans (Louisiana), (i)
New York City: censorship attempts in, (i), (ii), (iii), (iv), (v), (vi); Christine Ell’s restaurant, (i), (ii), (iii); Club Gallant, (i); Emperor Jones performances, (i); Ferrer School, (i), (ii); Fourth Street apartment, (i); Garden Hotel, (i), (ii), (iii), (iv), (v)n90, (vi)n216; Great Boer War Spectacle, (i); Greenwich Village, (i), (ii), (iii); Greenwich Village Theatre, (i), (ii), (iii), (iv); Harlem Renaissance, (i); Hudson Dusters, (i), (ii), (iii), (iv); Jimmy the Priest’s, (i), (ii), (iii), (iv); Lincoln Arcade studio, (i); Nani Bailey’s Samovar Café, (i); Neighborhood Playhouse and Comedy Theatre, (i), (ii); Northport (Long Island), (i); O’Connor’s Pub (Working Girls’ Home), (i), (ii); O’Neill “dog down” effect on, (i); Oona O’Neill as young celebrity, (i); Polly’s Café, (i), (ii); Prince George Hotel, (i), (ii), (iii), (iv), (v), (vi); Raines Law, (i); Romany Marie’s restaurant, (i); Sixty Club, (i); Tenderloin district jazz and ragtime, (i); Tucker’s Unique Book Shop, (i), (ii); Warburton Theatre, Yonkers, (i). See also Broadway theater; Hell Hole; Playwrights’ Theatre
Nichols, Dudley, (i), (ii)n137
Nietzsche, Friedrich, (i), (ii), (iii), (iv)
Nobel Prize, (i), (ii), (iii), (iv), (v)
Norton, Louise, (i)
Now I Ask You (1916), (i), (ii), (iii), (iv)
Obituary, The (Commins), (i)
O’Casey, Sean, (i)
Odets, Clifford, (i), (ii), (iii), (iv)
O’Hara, John, (i)
“Old Davil, The” (1920). See “Anna Christie”; Chris Christophersen
O’Neill, Edmund Burke (brother), (i), (ii)n14
O’Neill, Edward (grandfather), (i)
O’Neill, Eugene Gladstone (chronology of life events): death of Edmund, (i); birth and childhood, (i), (ii), (iii), (iv); New London youth, (i), (ii), (iii); Wild West experiences, (i); schooling, (i); Monte Cristo Cottage, (i), (ii), (iii), (iv); Princeton University, (i), (ii); New York-Chicago Supply Company job, (i), (ii); marriage to Kathleen Jenkins, (i); Honduras interlude, (i), (ii); birth of Eugene Jr., (i), (ii); Charles Racine and Buenos Aires, (i); Jimmy the Priest’s, (i); Irish Players performance, (i); suicide attempt, (i), (ii), (iii), (iv), (v), (vi)n117; Monte Cristo acting tour, (i); Kathleen Jenkins divorce, (i), (ii); summer in New London, (i), (ii); Maibelle Scott romance, (i), (ii); New London Telegraph, (i), (ii), (iii), (iv), (v), (vi); tuberculosis, (i); Packard writing binge, (i); Beatrice Ashe romance, (i); Harvard English (i), (ii); Garden Hotel residence, (i), (ii); Hell Hole introduction, (i); Garbage Flat residence, (i); Provincetown arrival/audition, (i), (ii), (iii), (iv)n11; Louise Bryant affair, (i), (ii), (iii), (iv), (v), (vi); Playwrights’ Theatre founding, (i); Provincetown summer of 1917, (i); New York Times O’Neill story, (i); Agnes Boulton romance, (i); Louis Holladay death, (i); Agnes Boulton marriage, (i); Provincetown with Agnes Boulton, (i); Provincetown Playhouse founding, (i), (ii); Peaked Hill Bar, (i), (ii); birth of Shane, (i), (ii); Prohibition, (i); Beyond the Horizon Pulitzer, (i); James O’Neill death, (i); Emperor Jones opening, (i); Ella O’Neill death, (i); “Anna Christie” Pulitzer, (i); meeting with Eugene Jr., (i), (ii); Brook Farm, (i), (ii), (iii); Jim O’Neill death, (i); Experimental Theatre founding, (i); Jig Cook death, (i), (ii); All God’s Chillun opening, (i); Bermuda trip, (i); birth of Oona, (i); eighty-day creative silence, (i); 1926 sobriety commitment, (i), (ii); Carlotta Monterey affair, (i); Agnes Boulton breakup, (i), (ii); European sojourn, (i), (ii); Hong Kong trip, (i); Château du Plessis, (i); return to New York, (i); Sea Island trip, (i); twelve-year seclusion, (i), (ii), (iii); Nobel Prize, (i); hand tremors, (i), (ii), (iii), (iv), (v); Tao House, (i); San Francisco move, (i); return to New York, (i); Marblehead, (i); Eugene Jr. suicide, (i); Carlotta hospitalization, (i); O’Neill will, (i), (ii), (iii), (iv), (v), (vi), (vii); death, (i); Shane suicide, (i)
O’Neill, Eugene III (grandson), (i)
O’Neill, Eugene Jr. (son): at Belgrade Lakes, (i); in Bermuda, (i); Betty Green (first wife), (i), (ii); birth, (i), (ii); at Château du Plessis, (i); distaste for Nazism, (i); inheritance, (i), (ii); Janet Longley (second wife), (i); Long Day’s Journey and, (i); mother’s divorce and, (i); O’Neill regrets and, (i), (ii), (iii); O’Neill relationship with, (i), (ii), (iii), (iv); photograph, (i), (ii); Provincetown visit, (i); Sally Hayward (third wife), (i); suicide, (i), (ii); Tao House visit, (i), (ii); Yale degree, (i)
O’Neill, James (father): acting career, (i), (ii), (iii), (iv), (v)n12; at Before Breakfast, (i); at Beyond the Horizon, (i); birth of Eugene Jr. and, (i), (ii); cancer and related illnesses, (i), (ii), (iii); death, (i); Eugene’s alcoholism and, (i); Eugene’s Pulitzer Prize and, (i); Eugene’s suicide attempt and, (i); Eugene’s tuberculosis and, (i); financial support for Eugene, (i), (ii), (iii); Long Day’s Journey depiction, (i), (ii), (iii), (iv), (v); Monte Cristo tabloid version, (i); New London settlement, (i); photograph, (i), (ii); promotion of The Sniper, (i); regrets over Monte Cristo, (i); reputation among Provincetown Players, (i); upbringing, (i); Wild West affiliates of, (i)
O’Neill, James Jr. (brother): alcohol addiction, (i), (ii), (iii), (iv), (v), (vi), (vii); association with prostitutes, (i), (ii); birth, (i); Christine Ell relationship, (i), (ii); death, (i); death of Ella O’Neill and, (i); depiction in Long Day’s Journey, (i), (ii); depiction in Moon for the Misbegotten, (i); depiction in The Rope, (i); education, (i); expulsion from Fordham, (i); Garden Hotel residence, (i); meeting with Eugene Jr., (i); Monte Cristo tour, (i); photograph, (i); at Provincetown, (i); as tormentor of Eugene, (i)
O’Neill, Mary “Ella” Quinlan (mother): at Beyond the Horizon, (i); biographical sketch, (i), (ii); birth of Shane and, (i); Boulton wedding and, (i); Catholicism and, (i); death, (i), (ii); drug addiction, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix); Maibelle Scott and, (i), (ii); mastectomy, (i), (ii), (iii); New London residence, (i)
O’Neill, Oona (daughter): at Belgrade Lakes, (i); at Bermuda, (i), (ii); birth, (i); Boulton divorce and, (i); death, (i); inheritance, (i), (ii), (iii); Long Day’s Journey and, (i); marriage to Charlie Chaplin, (i), (ii), (iii); New York visits, (i); O’Neill relationship with, (i), (ii); Tao House visits, (i), (ii), (iii); as young adult, (i)
O’Neill, Shane (son): All God’s Chillun death threat, (i); at Belgrade Lakes, (i), (ii), (iii); at Bermuda, (i), (ii), (iii); birth, (i), (ii); Boulton divorce and, (i); childhood, (i); Finn Mac Cool death and, (i)n285; inheritance, (i), (ii), (iii); Long Day’s Journey and, (i); New York visits, (i); O’Neill relationship with, (i), (ii), (iii), (iv); photograph, (i); suicide, (i); Tao House visit, (i); in World War II, (i)
O’Neill, Sheila (granddaughter), (i)n285
Osborn, E. W., (i)
Outside, The (Glaspell), (i)
Parker, Robert Allerton, (i)
Personal Equation, The (1915), (i), (ii), (iii), (iv)
philosophical anarchism: Ash Can painters, (i); Beatrice Ashe romance and, (i); Benjamin Tucker influence, (i); Carlin as exponent of, (i); in Emperor Jones, (i); Ferrer School philosophy and, (i), (ii); moral philosophy, (i); opposition to social institutions, (i); satirization of law enforcement, (i); Stirner as important figure, (i), (ii), (iii); vagabond lifestyle and, (i); World War II and, (i). See also class
philosophy (of O’Neill): overview, (i), (ii), (iii); affiliation with the dispossessed, (i); American dream theme and, (i); on American imperialism, (i), (ii); existentialism, (i); Freudian psychology and, (i), (ii), (iii), (iv); on happiness, (i); Hell Hole philosophical discussions, (i); hopeless hope outlook, (i), (ii), (iii); moral philosophy, (i); spiritual struggles, (i); on transcendental freedom, (i). See also philosophical anarchism; radicalism
Pichel, Irving, (i)
Playwrights’ Theatre (New York), (i), (ii)
poetry (by O’Neill): “American Sovereign” (1911), (i), (ii); “And here we sit!,” (i), (ii)n268; “Ballad of the Seamy Side” (1912), (i); “The Bridegroom Weeps!,” (i), (ii), (iii), (iv), (v), (vi)n78; “Fratricide” (1914), (i); “Free” (1912), (i), (ii), (iii), (iv), (v), (vi); “The golden oranges in the patio” (absinthe poem), (i), (ii)n200; Hart Crane and, (i); “I Am A Louse on the Body of Society” (1917), (i); New London Telegraph publications, (i); poems for Beatrice Ashe, (i); poems for Louise Bryant, (i); “Smile on my passionate plea abrupt” (sonnet for Catherine MacKay), (i); “To Alice,” (i); “To a Stolen Moment” (for Jane Caldwell), (i); Zion farm sonnets, (i)
Polo, Harold de, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii)
Powell, Adam Clayton Sr., (i)
Princeton University, (i), (ii), (iii), (iv), (v)
prose writings (by O’Neill): difficulty with expository prose, (i); “Hairy Ape, The” (1917 short story), (i); “The Last Will and Testament of Silverdene Emblem O’Neill,” (i); “Memoranda on Masks,” (i); New London Telegraph journalism, (i), (ii), (iii), (iv), (v), (vi); O’Neill theory of fiction, (i); “The Screenews of War” (1916, short story), (i), (ii), (iii), (iv), (v); S.O.S. (1917, novella), (i), (ii), (iii); “Tomorrow” (1916, short story), (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix). See also poetry
prostitutes: at Hell Hole, (i); influence of Jim and, (i), (ii); Kathleen Jenkins divorce and, (i), (ii), (iii)n113; Long Day’s Journey and, (i), (ii); as O’Neill characters, (i), (ii), (iii), (iv), (v), (vi); Princeton experiences with, (i)
Proust, Marcel, (i)
Provincetown (Massachusetts): Barn Theatre Glencairn production, (i); Bound East audition, (i), (ii); Carlotta Monterey disdain for, (i); Cook-Glaspell household, (i); espionage incident, (i); fishing industry in, (i); Francis’s Flats loft residence, (i), (ii), (iii), (iv), (v)n3; Garbage Flat residences, (i), (ii); Happy Home Cottage, (i); Peaked Hill Bar, (i), (ii), (iii), (iv), (v), (vi); summer of 1916, (i), (ii), (iii); summer of 1917, (i); Wharf Theatre, (i), (ii), (iii)n10
Provincetown Players: overview, (i); Bound East production, (i), (ii), (iii); collaborative theater model, (i); disbanding of, (i), (ii); disdain for reviews, (i), (ii), (iii); Emperor Jones production, (i), (ii), (iii), (iv); Experimental Theatre and, (i); first performances, (i); founding of, (i), (ii); Jig Cook role in, (i); O’Neill audition, (i);productions, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix), (x), (xi)n5; reputation as Freudian theater, (i), (ii); subscription list, (i), (ii), (iii), (iv); views of Louise Bryant, (i)
Provincetown Playhouse (New York City), (i), (ii), (iii), (iv), (v), (vi)n245
psychology (pertaining to O’Neill): antisocial behavior, (i), (ii); Gaylord Farm Sanatorium, (i), (ii), (iii); genius writer reputation, (i); isolation/loneliness feelings, (i), (ii), (iii); life chart, (i); nervous breakdown, (i); psychiatric treatment for alcoholism, (i); psychological abuse by father, (i); psychological realism in theater, (i), (ii), (iii); response to fame, (i); success as overcompensation, (i)
Pulitzer Prize, (i), (ii), (iii), (iv), (v)
Quintero, José, (i), (ii), (iii), (iv)
race: American Indian references in Diff’rent, (i); Black Nationalist response to O’Neill, (i); Dreamy Kid all-black cast, (i), (ii); in Emperor Jones, (i), (ii), (iii), (iv)n116; Iceman black audience ban, (i); mixed-race marriage in All God’s Chillun, (i), (ii), (iii)n127; O’Neill support for black writers, (i); racial characters in American fiction, (i). See also All God’s Chillun Got Wings; Emperor Jones, The; Hairy Ape, The
radicalism: agitprop/propaganda avoidance, (i), (ii), (iii), (iv), (v), (vi); Benjamin Tucker’s Unique Book Shop, (i), (ii); Depression-era political theater, (i); Dorothy Day as activist, (i); FBI O’Neill files, (i), (ii), (iii)nn11–12; Ferrer School, (i), (ii); “Fratricide” poem, (i); Great Labor Strike of 1911, (i); Hairy Ape IWW references, (i); Harvard plays and, (i); O’Neill affiliation with the dispossessed, (i), (ii), (iii), (iv), (v), (vi); O’Neill as radical writer, (i); polite society views of, (i); Provincetown espionage incident, (i); Provincetown radicals, (i); radical Iceman press conference, (i); Reed on political theater, (i); Russian translation of Lazarus, (i); Standard Oil as target of, (i), (ii), (iii); Terry Carlin as roommate, (i); Unabomber connection, (i)nn12; World War II isolationism and, (i). See also class; philosophical anarchism; philosophy
realism, (i), (ii), (iii), (iv)
Reamer, Lawrence, (i)
Recklessness (1913), (i)
Reed, Florence, (i)
Reed, John, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix), (x), (xi), (xii), (xiii)n47
Reynolds, Mabel, (i)
Rippin, Jessica, (i), (ii), (iii), (iv)n62
Robeson, Paul, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix), (x), (xi), (xii)
Rodin, Auguste, (i)
Rope, The (1918), (i), (ii), (iii)
sailors/sea experiences: Charles Racine square rigger, (i), (ii), (iii); Hairy Ape reviews and, (i); O’Neill sailor sexuality theories, (i); O’Neill seaman rank, (i); Packard writing binge of 1913, (i); reputed South Africa trip, (i)n75; sailors as O’Neill characters, (i); Smitty character (S. S. Glencairn series), (i); S.S. Ikala tramp steamer, (i), (ii), (iii), (iv), (v); S.S. New York passenger steamer, (i), (ii); S.S. Philadelphia, (i), (ii), (iii); stoker-seaman class division, (i); “Yank” Smith character, (i), (ii), (iii), (iv), (v)
Salinger, J. D., (i)
Samuels, Rae, (i)
Sandy, Sarah, (i), (ii), (iii)
San Francisco (California), (i), (ii), (iii)n229
Saroyan, William, (i), (ii), (iii)
Sayler, Oliver M., (i)
Scott, Maibelle, (i), (ii), (iii)
“Screenews of War, The” (1916, short story), (i), (ii), (iii), (iv), (v)
Seabury, David, (i)
Sea Island (Georgia). See Casa Genotta
“Sea-Mother’s Son, The” (probably 1927, autograph manuscript), (i), (ii)
Seattle (Washington), (i), (ii)
Sergeant, Elizabeth Shepley, (i), (ii), (iii)
Servitude (1914), (i), (ii), (iii)n196
Shakespeare, William, (i), (ii), (iii), (iv)
Shanley, John Patrick, (i)
Shaw, George Bernard, (i), (ii), (iii)
Sheaffer, Louis, (i)n117, (ii)n143
Sheldon, Edward, (i)
Shell Shock (1918), (i)
Shepard, Sam, (i)
Simon, Neil, (i)
Smith, Joe, (i), (ii), (iii), (iv), (v)
Sniper, The (1915), (i), (ii), (iii)
S.O.S. (novella, 1917), (i), (ii), (iii)
Spook Sonata, The (Strindberg), (i), (ii)
Spring, The (Cook), (i)
St. Aloysius Academy, (i)
Standard Oil, (i), (ii), (iii)
Steffens, Lincoln, (i)
Sterne, Maurice, (i)
Stirner, Max, (i), (ii), (iii), (iv)
Stowe, Harriet Beecher, (i)
Stram, Cynthia. See Chapman, Cynthia
Strange Interlude (1927), (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix), (x), (xi), (xii), (xiii), (xiv), (xv), (xvi)
Strasburg, Lee, (i)
Straw, The (1919), (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix)n119
Strindberg, August, (i), (ii), (iii), (iv), (v)
style (of O’Neill): agitprop/propaganda avoidance, (i), (ii), (iii), (iv), (v), (vi); conventions of dramatic form, (i); detailed set designs, (i); double meaning in titles, (i); dramatic irony, (i); fusion of theatrical elements approach, (i); informal storytelling as composition, (i); melodramatic tendencies at Harvard, (i); method of writing, (i), (ii), (iii), (iv), (v); notes on modern theater, (i); novel-as-play style, (i), (ii), (iii), (iv), (v); reputed pessimistic outlook, (i); rhythm of dialogue, (i); struggle against realism, (i), (ii); study of great dramatists, (i); on theatrical production, (i), (ii), (iii), (iv), (v), (vi)n197; topical journalistic poetry, (i); tragedy and, (i), (ii); “in vino veritas” characters, (i); working class and downtrodden characters, (i), (ii), (iii), (iv), (v), (vi). See also classical drama; existentialism; expressionism; melodrama; naturalism; philosophical anarchism; philosophy; theater
suicide attempt, (i), (ii), (iii), (iv), (v), (vi)n117, (vii)n119. See also Exorcism
Suppressed Desires (Cook and Glaspell), (i), (ii), (iii)
Swinburne, Algernon, (i)
Synge, John Millington, (i), (ii), (iii)
Tale of Possessors Self-Dispossessed, A (cycle of historical plays), (i), (ii), (iii), (iv)
Tao House (California), (i), (ii), (iii), (iv), (v), (vi), (vii)
theater (American theater): American experimental theater, (i); “American Style” development, (i); American Victorian theatrical booking cartel, (i), (ii); difficulty of tragedy in, (i); European views of, (i); experimental theater after Provincetown, (i); “fourth-wall illusion” problem, (i); Great Depression and, (i); James O’Neill career, (i), (ii); Kuppelhorizont production of Emperor Jones, (i), (ii)n245; Little Theatre Movement, (i); method acting, (i); Moon of the Caribbees innovation in, (i); “new stagecraft” set design, (i); O’Neill disdain for melodrama, (i); O’Neill on modern theater, (i); O’Neill transformation of, (i), (ii); O’Neill view of critics, (i); realism in, (i), (ii), (iii); soliloquy in, (i). See also Broadway theater; cinema; classical drama; melodrama; style
Theatre Guild, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix), (x), (xi), (xii), (xiii). See also Washington Square Players
Theatre Union, (i)
They Knew What They Wanted (Howard), (i), (ii)
Thirst (1913), (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix)
Thirst and Other One-Act Plays (1914), (i), (ii), (iii)
Thomas, Augustus, (i)
Thompson, Francis, (i), (ii), (iii), (iv)
Thompson, John Douglas, (i)n116
Thoreau, Henry David, (i), (ii)
Throckmorton, Cleon, (i), (ii), (iii), (iv), (v)
Titanic (sinking in 1912), (i)
Tolstoy, Leo, (i)
“Tomorrow” (1916), (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix)
Touch of the Poet, A (1942), (i), (ii), (iii), (iv), (v), (vi), (vii)
Triumvirate. See Experimental Theatre, Inc.
Tucker, Benjamin R., (i), (ii)
Tyler, George C., (i), (ii), (iii), (iv), (v), (vi), (vii), (viii)
“Uncharted Sea” (1929, abandoned), (i)
Van Vechten, Carl, (i), (ii), (iii)
Verge, The (Glaspell), (i)
“Visit of Malatesta, The” (1940, unfinished), (i)
Vogel, Paula, (i)
Vorse, Mary Heaton, (i), (ii), (iii), (iv), (v), (vi), (vii)n10
Warnings (1913), (i), (ii), (iii)
Warren, George C., (i)
Washington Square Players, (i), (ii), (iii), (iv), (v), (vi), (vii). See also Theatre Guild
Wasserstein, Wendy, (i)
Watts, Richard, Jr., (i)
Wayne, John, (i)n137
Web, The (1913), (i)
Weinberger, Harry, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix), (x)
Welch, Marion, (i)
Welch, Mary, (i)
Welded (1923), (i), (ii), (iii), (iv), (v)
Welles, Orson, (i)
Welsh, Robert Gilbert, (i)
West, Cornell, (i)
Wharf Theatre (Provincetown), (i), (ii), (iii), (iv), (v)n10
Where the Cross Is Made (1918), (i), (ii), (iii)
Whittaker, James, (i)
Wife for a Life, A (1913), (i), (ii)
Wilder, Thornton, (i)
Williams, John D., (i), (ii), (iii), (iv), (v)
Williams, Malcolm, (i)
Williams, Maude, (i)
Williams, Tennessee, (i), (ii), (iii), (iv)
Williams, William Carlos, (i), (ii)
Wilson, August, (i)
Wilson, Edmund, (i), (ii), (iii)
Winther, Sophus, (i), (ii), (iii), (iv), (v)
Wolheim, Louis, (i)
Woollcott, Alexander, (i), (ii)
Wooster Group, (i)n7
World War II: Greed of the Meek Cycle and, (i); Iceman and, (i), (ii); Moon for the Misbegotten and, (i); Nazism and, (i), (ii); O’Neill imperialism theory and, (i); O’Neill isolationism, (i), (ii); Shane O’Neill war experiences, (i)
Yale University, (i), (ii), (iii), (iv)
Yeats, William Butler, (i), (ii), (iii)
Young, Stark, (i)
Zola, Émile, (i)