Brian Friel's Dancing at Lughnasa presented its final performance on November 20th at the Tenessee Williams Center to a packed auditorium on an impressively detailed set that brought a unique intimacy in its rustic appearance. Opening during the wistful but tumultuous time of 1930s Ireland, the play leaps to life with the memories of young Michael, the illegitimate son of Christina, one of the five Mundy sisters. A convincing showman, Michael, played by Michael Caskey, engaged the audience immediately, introducing the characters in his minds eye as they remained still on stage yet in perfect character. His gestures were deliberate and his voice forceful. This was largely the most effective part of the play as the audience first gained their glimpse of the characters that would soon invite them into their world. They were allowed to stare at the Mundy sisters openly, often distracted by their slight but purposeful movement as Michael spoke.
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Glenn Herbert Davis's new exhibition, a Pale; place into parts, evoked a slew of commentary from those present for the opening events. The two-part installation, composed mostly of salvaged lumber, suggested to the viewers everything from a commentary on labor camps to Sewanee-specific religious imagery. Davis admits that while creating his work, he did not have in mind many of the concepts his viewers extracted from the pieces. Regardless, the exhibition proved to be thought-provoking for all in attendance during the events on December 3rd.
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