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The World Is Mine. In The World Is Mine, Buntport gives us Eugene O'Neill in the hospital recovering from an appendectomy and thinking about beginning work on Long Day's Journey Into Night, the play that dramatized the life of the author's booze-drug-and-self-pity-soaked family, and which he famously said was written in tears and blood. The Buntport members treat this somber material with their usual fizz and humor, without in any way trivializing it. O'Neill's self-absorption is tackled head on: The entire set represents the inside of his mind as he ponders the set for his play, and the three other characters — all mustachioed like O'Neill himself — exist only as he sees them. The action takes place in a living room; a profile of Erik Edborg, who plays O'Neill, is mounted on the back wall, facing left. Opposite this, the same portrait has been flopped so it's facing right. We half notice that there are glasses everywhere, and once the action begins, we find that the place bleeds alcohol as characters pour drinks from almost every available object, from a chandelier to a telephone. O'Neill is being taken care of by a nurse, Cathleen, who reminds him of daughter Oona and whom he will transform into the Tyrones' dim, flirtatious Irish maid in Long Day's Journey Into Night — hence the absurdly high heels she wears along with her mustache. His wife, Carlotta, is on the scene, too, parading around in a succession of elegant dresses and surprising hats. The final character is Erland, come from Sweden to give O'Neill his 1936 Nobel Prize for Literature. The World Is Mine raises the central question about Eugene O'Neill's artistry: the fact that his focus is so relentlessly, claustrophobically inward. And in their humorous and unpretentious way, the Buntporters suggest that when feelings run deep enough and genius is sufficiently capacious, personal obsession becomes universal and transforms into art. Presented by Buntport Theater Company through March 6, 717 Lipan Street, 720-946-1388, www.buntport.com. Reviewed February 4.

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