Irish playwright Brian Friel’s semi-autobiographical play “Dancing at Lughnasa” has been receiving high praise for its recent revival at the Old Vic theater in London. The play, set in 1936 rural Ireland, follows the lives of five unmarried sisters. The production has been lauded for its exploration of nostalgia and its blend of everyday domesticity and larger societal changes.
Nostalgia Explored
“Dancing at Lughnasa” explores the concept of nostalgia itself, as the characters reconstruct the past in their memories. The play is a memory piece, with Michael, the seven-year-old son of one of the sisters, narrating his childhood. Michael, a seven-year-old boy, is playing while his mother Chris and aunts are having arguments, reflecting on the past, and baking soda bread. Despite being present, Michael is unnoticeable to them. The play also follows Uncle Jack, who has returned from Africa and forgotten much, and sisters help him remember his past. Director Josie Rourke has masterfully realized Friel’s vision.
Changing Ireland
The play deals with themes such as the changing Ireland of the time, with the church facing threats and the Industrial Revolution affecting the sisters’ business. The play also concerns the looming Spanish Civil War. The play is carefully plotted to build tension, showcasing the small tragedies that occur within everyday domesticity.
Orchestrated Movement
Wayne McGregor’s choreography plays a vital role in the emotional heart of the play. The stomping scene, where the sisters dance with wild abandon, is a shared, rebellious ritual and act of worship in one. Movement is an integral part of the play, and the performances are exquisite. From Alison Oliver’s fluttering exhilaration when Gerry first arrives to the house, to Ardal O’Hanlon’s passion for the alternative faith he has brought back to Donegal, each movement and facial expression is imbued with meaning.
