Dancing At Lughnasa

Produced by and at William Alderson Studio Theatre.

In Brian Friel's charming play a man casts his thoughts back to a lyrical flashpoint of his life. In a small house, his mother and four fiery Irish-Catholic aunts welcome his missionary great-uncle back from a 25-year African sojourn, bringing with him foreign customs, ideas, and influences that magically shape and challenge the boy of 1936, Ballybeg, Ireland.

The brevity of this convergence heightens to a sweetened dance, when his wayward father's melodious path galvanizes the humor and desire of this image poem. Buoyant, rich characterizations inspire the viewer to join this defiantly pagan sisterhold in their festival of Lughnasa.

Director Paul Brennan works the tone of desperate need to feverishly brilliant and harmonious emotion. He gently nudges the script so the powerful piece erupts from the stage with fierce laughter and intoxicating warmth. Particularly clever staging of flashback sequences delight.

Janet Chamberlain's (Kate) generous, sturdy heart captures ours and Carnille A. Ganning's (Maggie) jaunty wildflower glee colors an attractive whirlwind. Maureen Grady (Agnes) skillfully shows a resolutely iron constitution that bends delicately as the evening progresses. Larisa Miller's (Christina) winsome beauty draws us to the depth of her expressive emotionality and Erne Mizioch (Rose) radiates an innocent love to enrich the piece. Brian Mulligan's (Michael) obvious talent with language conveys the fruitfully funny timbre to carefully open a window to the breaking dawn of the industrial age. While William Alderson's (Jack) and Robert Gantzos's (Gerry) thorough characterizations contribute nicely.

Kenny Klimak's creative set design efficiently liberates the tiny stage, whisking us to a country hearth. Cheryl Water's meticulous lighting neatly shifts across the range of firelight to sunset and Ernest Johnson's costumes warm with mixed prints and effectively harnessing aprons. While Robert Alvarez's ferocious ritual choreography bewitches, other over-planned sequences jumble spontaneity into clunkiness.