The O'Neill

A lavishly illustrated celebration of the fifty-year history of the most influential theatrical organization in America, the O’Neill Theater Center

"At the O'Neill, we were all engaged with full-hearted passion in sometimes the silliest of exercises, and all in service of finding that wiggly, elusive creature, a new play."—Meryl Streep

"I would not be who or where I am today without the O'Neill."—Michael Douglas

As the old ways of the commercial theater were dying and American playwriting was in crisis, the Eugene O’Neill Theater Center arose as a midwife to new plays and musicals, introducing some of the most exciting talents of our time (including August Wilson, Wendy Wasserstein, and Christopher Durang) and developing works that went on to win Pulitzer Prizes and Tony Awards. Along the way, it collaborated with then-unknown performers (like Meryl Streep, Michael Douglas, Courtney Vance, and Angela Bassett) and inspired Robert Redford in his creation of the Sundance Institute. This is the story of a theatrical laboratory, a place that transformed American theater, film, and television.

Jeffrey Sweet is an award-winning playwright and theater historian whose previous books include Something Wonderful Right Away, a history of the famed Second City improvisational theater. He serves on the Council of the Dramatists Guild and is one of the most active participants in the Chicago theater renaissance.

“What would the American theater be without the O'Neill Theater Center? It was at the O'Neill—from August Wilson to Chris Durang and Wendy Wasserstein—that the great playwrights of the last half century honed their plays and transformed the American theater. Thanks to Jeffrey Sweet for writing this essential book.”—Emily Mann, Artistic Director and Resident Playwright, McCarter Theatre

The O’Neill is where it all begins. There is no finer place to begin work on a new play in America.”—Kevin Spacey


“The O’Neill to me is certainly one of the most important places in my theatrical history, and I also think in the last half of the twentieth century in American theatrical history.”—Wendy Wasserstein


“I felt I was on the flying trapeze all the time. I got a lot of confidence in my first instincts. I was a much better actor after that.”—Jill Eikenberry


“To be asked to the O’Neill was a very big honor. Miraculous. I didn’t care whose play I was in. I just was so amazed and glad to be a part.”—Courtney B. Vance


“You didn’t come to the O’Neill just to get your play done. You came to the O’Neill and made yourself available to other playwrights—as did directors, designers, actors—and that created this wonderful, productive community.”—Lloyd Richards