Last night I was fortunate to observe the Mundy sisters and their older missionary brother Jack, recently returned from 25 years in Uganda. Their small house and garden in Northern Ireland is a typical example of homes I've visited in that country. This magic of transforming OnStage's stage into a wee bit of the ole sod is the result of the deft hand and eye of designer Brenda Leake. It is so authentic; I knew it would take a tremendous cast to shine as brightly.
The cast of Dancing at Lughnasa, under the directorial guidance of Carla Nell and dialogue guidance of John Hyatt, is up to the task. This excellent production, which opens with a monologue by Michael (Bryant Hernandez), now a young man, relives his memories of the summer of 1936. Seven year-old Michael is the son of the youngest sister, Christina, and Gerry Evans, a slick-talking type who deserts her. The play is, in fact, the fictionalized memoir of playwright Friel.
Each sister is distinctly unique. Maggie (Teri Brown) takes on the mother role, a mediator. Christina (Jo Dempsey) is the naive young thing easily seduced by fast-talking, fast- dancing Gerry (Charley Miller). Eldest sister Kate (Carolyn Wheat Koenig) is moody and easy to anger. Agnes (Kym Pappas) takes Rose (Crystal Verdon), a somewhat backward girl, under her wing. Jack (Tom Kilroy) is a study in old age, for the most part, going down hill rapidly. Kilroy is brilliant. Their story is an emotional rollercoaster of happiness and sadness, tending more towards the latter.
This production, however, is not about individual performances (which are all excellent); it is about an ensemble of actors who create a story and mood that are totally convincing. Even narrator Hernandez feels totally at home in the time of the play, even as he is an observer and story teller. The dialect is so perfect; I could close my eyes and feel that I was in Dublin or Dingle. Dialect thick, like a Filet Mignon, that must be savored with pleasure. It may even take a wee bit of gettin' used to.
All of the design elements complement the production. Lighting, which varies with mood, helps drive the story, as does the sound. Teri Brown's costumes feel authentic (I just love Jack's uniform!) Brenda Leake's set, as mentioned, brings us to Ireland.
Alas, a wee spot of nitpicking; the garden backdrop feels unfinished, not depicting the verdant green that is Ireland. Also, while all of the exterior walls portray the construction and texture of village houses, the house's back wall really needed more texture. That aside, set decoration and props provide much authenticity.
Dancing at Lughnasa is a powerful play, and director Carla Nell can be very proud of her work, so take a trip to Ireland and never go any further than Chula Vista.
