Review: Dancing at Lughnasa, Lyndhurst Drama & Musical Society
TO my shame, I was not familiar with the works of Brian Friel but this omission was rectified when Lyndhurst Drama & Musical Society put on the interesting Dancing at Lughnasa, a semi-biographical ‘memory’ play written in 1990.
Lughnasa (pronounced ‘Loonasa’) is an Irish harvest festival named after pagan god Lugh, corresponding to the English Lammas day. The play is set in August 1936. The poverty-stricken Mundy sisters live in a remote cottage near Ballybeg, Co. Donegal, along with their ailing brother, Jack, a retired missionary.
The play is narrated by the adult Michael recalling his days growing up that summer with his unmarried mother along with his doting aunts and uncle.
Vic Milne was sympathetic as the adult Michael delivering superb monologues, both introducing and ending the play whilst the young Michael was invisible, although the adults address him as if he is in front of them.
Sarah Short was the strict, fiercely devout Kate, the only wage-earning sister as a teacher in the local school, overly concerned about the family’s reputation.
Hannah Rogers was Maggie, the chief homemaker. She tries to defuse tensions as they arise but is seen to have dreams of her own when she learns of her best friend’s success as a film star. Her sudden contemplation deeply contrasts with her usual fun-loving way of speaking.
Amy Godfrey-Arkle was Agnes, quiet and contemplative, knitting gloves with her sister Rosie to sell in town while also helping to keep the house in order.
Shana Cooper was the vulnerable Rosie, longing to go to the harvest dance to see Danny Bradley whom she believes is in love with her. She is particularly close to Agnes who looks after her.
Emma Davis was the bright youngest sister, Christina, Michael’s mother, who, like Maggie, has no paid job. Gerry Evans fathered her son seven years ago and walks in and out of their lives as he chooses. As a result, Chris fluctuates between deep depression when he leaves and optimism that his next visit will be a permanent stay.
Richard Barnett was realistic as Jack, a broken, shambling man, well respected in Donegal for his work in a leper colony until his sudden return for undisclosed reasons. Apart from losing much English vocabulary, he has adopted pagan beliefs during his stint in Ryanga, Uganda, which may be the true reason his superiors have sent him back. Jack welcomes Michael as a love-child as they are regarded as a blessing among the people of Uganda.
Jack Barnett was the personable, albeit con-man, Gerry, full of ideas for his and Christina’s future. Kate disapproves of this ‘fly-by-night’ but Agnes sticks up for him at every opportunity.
Despite their somewhat bleak existence, the sisters’ lives take a lively turn whenever the unreliable Marconi radio springs into life, leading them all to dance gaily around the room for a short time until it conks out again.
There is a sense that the close home life the women have known since childhood is about to be torn apart. The narrator, the adult Michael, tells us this is indeed what happens – but you need to watch the play for the ending.
This vibrant and energetic play was brilliantly directed by Michele Arkle and Rebecca Harper with a rustic set transporting the audience back to 1930s Ireland, a world on the brink of transformation.
Alison Smith