Dancing At Lughnasa Ends; Core Message Lasts

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. The voice acting of the cast was extremely well done and very consistent, although Jack's lack of any accent had some scratching their heads. In fact, Jack, played by Aaron Rutz had speech so stunted that some found themselves analyzing him as an actor rather than a character. 

The first act brought plenty of questions but also insights into the lives of each character. Jordan Craig, playing the relentlessly charismatic Gerry Evans, was the first to bring action into the play. Although the first part of Act I was characterized by some humorous banter and petty arguments from the Mundy sisters, the comic relief brought by Craig's portrayal of Gerry was welcomed by the audience after witnessing the family's troubles. Beforehand, the idea of a world outside the house was difficult to feel from those first few scenes and Craig's role certainly had the audience members chuckling. One of the most significant parts of the play was how Michael Evans incorporated himself into his memory; a little boy whom you couldn't see but eventually knew was there. It was somewhat noticeable that some of the actresses had trouble working with this imaginary character and this aspect put some cracks in the audiences' illusion of reality. As Act II rolled around, it seemed the audience was ready for some more excitement and that's what they got. Drama and tension drenched the scenes with intermittent moments of romance such as that between Chris and Gerry as well as lightheartedness such as when the radio was finally fixed and the women once again decided to go to the Festival at Lughnasa. Although the time period may have left modern students feeling isolated, the chemistry between the sisters is what saved face; not only was it apparent, but it really brought the audience closer to each character. In the end, the audience couldn't help but be reminded that when times are rough-as they surely are now-dance, laughter and family are the best distraction.