The Gate Theatre in Dublin unveiled Caroline Byrne’s resplendent revival of Brian Friel’s classic, Dancing at Lughnasa. This play, amongst all of Friel’s consistently enduring creations, stood out due to the remarkable impact it had back in 1990. The original production initially started at the Abbey Theatre, then toured to London, earning an Olivier award. Eventually, it even had a run Broadway and was adapted into a 1998 movie with Meryl Streep as the lead.
This current refurbished presentation at the Gate further reinforces the notable status Lughnasa had obtained. While it would be imprudent to entirely remake such a nostalgic piece for the modern audience, given that only a handful who witnessed the original production are still around, the current staging stirs a more potent recognition of the archaic mystique compared to prior versions.
The celebrated Donegal sisters’ dance sequence, inspired by traditional music on the radio and now reimagined with the help of Jean Butler, is reminiscent of an ethereal invocation found in folklore horror. The unique set designed by Chiara Stephenson and Paul Keogan’s dynamic lighting artistry effectively utilise hues of ochre to simultaneously evoke a moderate Ulster summer and the exotic African light, a recent memory for the sisters’ quirky uncle. Imaginatively using a doorway that seems implausible, they’ve created a passageway to the past, the forthcoming, and the intangible, amidst swaying crops in the background. Byrne and her talented crew have successfully rendered the play as a dreamy, contemplative experience.
“Dancing at Lughnasa” continues to be a bold piece, taking its unique style from the rich local dialect of the northwest. The narrative is led by Terence Keeley playing Michael, the imagined creator of the story. He transports us back to a simpler time in 1936 and into a home shared by five wonderfully argumentative women. Ruth McGill gives an inspired performance as Kate – the family’s authoritative figure, showing glimpses of a suppressed longing behind her stoic exterior – reminiscent of Katharine Hepburn. Michael’s single mother, portrayed by Zara Devlin – one of the most noteworthy young actors of our time – is portrayed as a hopeful wistful figure. Michael is the product of a union with a pleasing, yet inconsistent Welsh father. Despite the unconventional setup, the sisters exhibit admirable tolerance. Lauren Farrell gives a youthful performance as Rose, with Nicky Harley as steadfast Agnes and Molly Logan as the vibrant Maggie. The tension increases with the arrival of the mischievous missionary uncle (played by Peter Gowen) who seems to have adopted local customs. Jack Meade is a delightful addition as Michael’s irresistible father. All characters move around an imaginary child.
The concluding speech suggests that the “dance” in the title serves as a simile for bringing together fragments of the past and present, akin to in Anthony Powell’s novel sequence A Dance to the Music of Time. This theoretical dance persists even during the quietest instances, with movements as carefully orchestrated as in a ballet. Keeley’s sensitive portrayal hints at a man treading carefully around emotions, all while trying to avoid any emotional missteps. Even with its quieter moments, the main part of the play is rich with activity, noise and a somewhat reserved joy – similar to many of Chekhov’s plays. Lughnasa aligns comedy with the reality that even the most intense joy inevitably ends on a sorrowful note.
This successful revival, infused with authenticity and creativity, warrants a packed audience from now until the autumnal shift. The play is showing at the Gate Theatre, Dublin, until Saturday, September 21st.