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On Broadway, she won praise as the neurotic Nina Leeds in O’Neill’s “Strange Interlude” in 1985 and a best actress Tony for her role as A, a woman over 90 facing mortality, in Edward Albee’s “Three Tall Women” in 2018.

Jackson wowed the critics on Broadway when she appeared in Eugene O'Neill's melodrama, Strange Interlude.

When Godwin directed a production of Eugene O’Neill’s “Strange Interlude” in 2013, he brought on Goddard as movement director.

Because, truth be told, even those who adored the experimental virtuosity of his earlier solo projects “The Patsy” and “Strange Interlude” might approach his latest project with some trepidation: a staging of Gertrude Stein and Virgil Thomson’s large-cast, 1934 opera “Four Saints in Three Acts” as a one-man play, divested of its music.

We are living through a protracted reprise of that strange interlude from the stretch run of the 2016 presidential race, after the Access Hollywood tape came out—when Trump’s advisors, seeing him on the verge of being cut loose by mortified party officials and buried in a landslide, finally got him to shut up for a week or two.