[Editor's note: On February 3, Harrison Hilltop producers Tristan Tapscott and Chris Walljasper announced the cancellation of the remaining performances for Who's Afraid of Virginia Woolf.]

As much as I like theatre, three hours in a chair can be a bit too much for me. The Harrison Hilltop Theatre's recent production of Long Day's Journey Into Night felt long, but mainly because the show's script is populated with lengthy, repetitious monologues. Its current production, Who's Afraid of Virginia Woolf?, is roughly the same length, but doesn't have the same plodding feeling. Perhaps it's because almost every line in the play seems weighty yet unpretentious, with an overall pacing quick enough to both keep and force your attention, lest you miss a sharp-tongued phrase.

As I never tire of telling people, Eugene O'Neill's Long Day's Journey Into Night ranks first on my list of all-time favorite plays, which puts me in league with, I'd imagine, several thousand others over the years. Widely considered the greatest work ever written by the author widely considered the greatest playwright our country has yet produced, O'Neill's autobiographical epic is nothing less than America's answer to King Lear - an incisive, harrowing, and altogether exhilarating study of family conducted with a microscope and a scalpel.