Few playwrights depict the power and denial of addiction or the warped connections within dysfunctional families as well as Eugene O'Neill. 

Both themes run relentlessly through "Long Day's Journey Into Night" -- a masterpiece so autobiographical and painful that O'Neill requested it not be produced until after his death.  Despite some humor, it also can be painful for the audience.  It remains a must-see theatrical experience. 

"Long Day's Journey" is set in 1912 but seems as contemporary as today. 

While the action occurs within 24 hours, we know one day is the same as another.  O'Neill's fictional family, the Tyrones, are engaged in never-ending conflict: accusations and counter-accusations, living in the past, hints at forgiveness never really given. 

The Tyrones use excuses to never really change, even while they, especially the younger son, Edmund (representing O'Neill), delude themselves that they can. 

This was an ambitious undertaking for director Todd Drazien: the play runs a bit over four hours, with three intermissions.  It can be repetitious -- partly because O'Neill wants us to feel the effects of a drug trance -- but also wonderfully poetic. 

Had the actors done nothing but memorize their lines and recited them credibly, it would have been a feat. 

Thankfully, they do much more.  One senses Drazien's gentle directorial hand, but also that the actors find their own voices. 

Sherman Hawkins seems born to play James Tyrone, the handsome patriarch of the family with an aborted acting career and a tendency to over dramatize. 

Hawkins might make the tightwad more likable than O'Neill intended, as we feel the pain of the poverty with which he grew up.  But the actor's charm, Americanized Irish accent, and attempt to keep his pride as his life disintegrates are right on target. 

Daphin Bowman seems a bit tentative at first as the wife.  But then we realize there is artifice here: Mary has much to hide from herself and others as she descends into drug-induced madness.  By the play's end, she has moved us deeply. 

The self-loathing, ne'er-do-well elder son, Jamie, attached to "whores and whiskey" takes the longest to understand.  Dan Burke starts off subdued, with occasional sarcasm. That makes his drunken stupor and rage in the last act all the more powerful. 

The depth that the even-younger Julian Gantt taps in the 23-year-old Edmund is impressive. His Edmund blends hope and despair, sensitivity and brashness, poetry and cynicism. 

Comic relief is provided by Heather Jannetta as the maid, Kathleen, with a perfect Irish brogue and a manner that veers between dutifulness and cockiness. 

Drazien designed the set, almost too lovely for the depressing environment described in the play. Amy Burke was stage manager and Mike Delaney, light designer. 

It's exciting for local audiences to be able to see a Tony Award-winning play that's simultaneously playing on Broadway. More significantly, it's a great play, and this production gives it credit. Only caveat: bring a pillow.