Dancing At Lughnasa

Friel the rhythmn

By Tasha Prest-Smith

Like much of Brian Friel’s work, Dancing at Lughnasa is a multi-faceted and fascinating play, to which Act One gave a first-class performance.

Every aspect was polished and tailored to create an evocative sense of 1930s Donegal, ranging from the domestic to the political, with references to the Industrial Revolution and world war.

Complementing the retrospective narrative was an impressive set, including a backdrop of undulating Irish hills and a traditional kitchen area, complete with Aga, crucifixes and a temperamental wireless. One of the most striking elements of the play was the astonishing authenticity of the Irish accent by all actors.

The play itself subtly reveals how movement and body language can often convey much more than words. The incongruence between duty and instinct, and paganism and Catholicism, is emphasised, as well as the ambivalent nature of memories.

Particularly commendable was the innocent, child-like jubilance of Rose (Claire Ingham), the understated melancholy of Chris (Nicole Davall), and the superficial charm and chivalry of Gerry (James Davies).