O'Neill's works are truly remarkable as he manages to cover both Phaedra and Medea simultaneously! His writing is beautifully crafted, presenting a mid-19th century American transplantation of these mythological classics. This exploration of lust and possession offers a quaint and engaging reading experience for the afternoon. It is a nice blend of the homey, kitchen-sink dramas that were characteristic of early American Realism and the terrorizing, psychological darkness that was unique to O'Neill's personal brand of expressionism. The combination of these two styles creates a rich and complex narrative that keeps the reader hooked from beginning to end. Whether you are a fan of mythology, Realism, or expressionism, O'Neill's treatment of Phaedra and Medea is sure to delight and intrigue you.

The Worst Fake Southern Accents Ever

Have you ever heard someone attempt a southern accent and just cringed? Well, you're not alone. There are some truly terrible fake southern accents out there that are enough to make any southerner cringe.

Some people seem to think that all you need to do to have a southern accent is to drawl and add an extra "y'all" here and there. But it's so much more than that. A true southern accent has its own unique rhythm, intonation, and vocabulary.

When someone tries to fake a southern accent and gets it wrong, it can be really distracting. It can make you focus more on the bad accent than on what the person is actually saying.

So the next time you hear someone attempt a southern accent, just remember that it's not as easy as it looks. And if you're going to try it, make sure you do your research and practice first!

A Tough Accent to Follow

I initially guessed that the accent belonged to someone from the South, but it turned out to be from New England. Ephraim Cabot, a 76-year-old tough man, has outlived two wives. His two sons from his first wife leave the farm after being given money by Eben, who is from his second wife, to go seek gold in California. Eben desires clear ownership of the farm. Then, the father comes home with a 25-year-old bride named Abbie, who is both hated and loved by Eben. Ephraim believes that the baby Abbie is carrying is his, but the whole town figures out otherwise. In a shocking turn of events, Abby kills the baby (!) in an attempt to keep Eben. However, Eben claims that he helped her, which makes it a Greek tragedy. Oh, God. This story is filled with complex relationships, desires, and tragic events that keep the reader on the edge of their seat.

Desire Under the Elms by Eugene O’Neill is a remarkable work that stands out in comparison to other recent theater productions I've been watching on National Channel number Three.

For several days now, I've been tuning in to this channel, which features a theater production every evening at eight o'clock. However, many of these plays have been compromised by either poor acting, directing, or both.

Caligula by Albert Camus, for example, suffered from these issues, as did The enigma in the will, based on graves by Mihail Sadoveanu. In contrast, Desire Under the Elms appears sublime, although this may be due in part to lowered expectations.

After witnessing a series of exaggerated and preposterous performances, it's a relief to see acting and directing that approach the normal, restrained, and cerebral.

The opening scenes of Desire Under the Elms remind me of Stumbling Upon Happiness by Harvard Professor Daniel Gilbert, which explores the idea of popular myths and the phenomenon of Hedonic Adaptation.

Simeon and Peter, the sons from Ephraim Cabot's first marriage, talk about the California Dreaming, while Eben, the main character, offers to pay for their share of the departing step brothers.

The play becomes more complicated when Ephraim Cabot returns with a new wife, Abbie Putnam, who exchanges vows with him in order to get the house.

Abbie and Eben have several confrontations, and she eventually falls in love with him, which leads to further complications. Overall, Desire Under the Elms is a thought-provoking play that explores themes of love, greed, and family dynamics.

It's a pity that I've forgotten much of the plot since I last saw it in 1917, but I'm looking forward to seeing this evening's offering, The Deputy by Rolf Hochhuth, in the program as The Vicar.

Although I have a vague memory of the characters and some of the events, I'm sure there will be much to discover and enjoy in this production.