Attention to detail within a play does not always guarantee a great performance. But in the case of "Dancing at Lughnasa," precision went hand-in-hand with a high-quality performance.
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Dancing at Lughnasa Mendelssohn Theater Feb. 13, 1997 |
From the start, Patrick Moltane's narration as Michael captured the audience's attention. He kept all the charm of a 7-year-old, while he cleverly spoke as an older narrator. In reality, Michael played a double role, looking back over his life and reliving it at the same time.
The play's best performances were those of the Mundy sisters themselves. Jenny Burleson's performance as Kate was outstanding. Not only did she express the anxiety of a woman looking out for her family, but her deadpan humor and optimism mingled with hopelessness made Kate come alive. Spending most of her time in the kitchen surrounded by wooden spoons and crockery, Kate watched over the actions of her sisters and her malaria stricken brother (Jeffrey Bender) with all the worry and love of a mother.
The irreversible course of the Mundy sisters' lives became clear after Rose (Elif Celebi) suggested that the sisters go to the pagan festival of Lughnasa. Rose attempts to unlock the family's happiness, which is hidden by the everyday burdens of trying to survive.
Rose's character often became irritating, and her sporadic nature seemed like a cross between immaturity and a learning disability. The play never revealed the reasons for her actions, leaving the audience wondering what was wrong with her.
Strong performances also came from Cadi Sutter (Maggie) and Heather Guglielmetti (Agnes). Maggie's love for Wild Woodbines contrasted with Agnes' innocent and reserved nature. Guglielmetti was poignant, portraying Agnes' delicate emotions and her unexpected humorous side with ease.
In contrast, Sutter handled Maggie's whimsical character well. Spending her time smoking and feeding chickens, Maggie was by far the happiest of the sisters. At the same time, however, she seemed the most distraught.
The sisters' reactions to approaching middle age without husbands revealed their individual characters. Perhaps the best example of this individuality took place as the sisters danced during the first act. The screeches of the women were irritating and confusing at first, but as one watched the intensity of their faces, it was obvious that the dancing was a necessary outlet for years of pent-up emotions.
Chris' (Stephanie Bernstein) and Jerry's (Matthew Clifford) relationship exemplified the bursts of happiness the Mundy sisters experienced throughout their lives. Jerry, Michael's father, was the typical unreliable male. But the part was not quite on the level of the other performances, partially because of the unconvincing accent. Berstein's performance as Chris was solid, although not quite as stirring as those of Kate, Agnes and Maggie.
Jeffrey Bender's performance as Jack was compelling. Especially convincing was the interaction between Jack and Kate. Their conflict revealed the tension between brother and sister as well as the contrast between Catholicism and paganism. Bender did an excellent job of showing Jack as a quirky man with little desire left for tradition, a change which frustrated Kate and revealed his illness at the same time.
The second half of the play was the highlight of the performance. Agnes made the second act come alive through her unleashed emotional torrents. Although Rose seemed to have the pivotal moment in the act, it is unclear why she runs off to the festival and why she seems to deteriorate upon returning home.
Michael's narration successfully set up the unraveling of events. The end, which included a scene freeze while Michael revealed the characters' fates, was effective. The chilling words of Michael's powerful closing speech were beautiful, exemplifying Friel's poetic use of language at its finest.
Many strong performances made "Dancing at Lughnasa" a success.