 "Photo: Caitlin Brandon")
From the depths of 1930s Ireland, comes the heartfelt tale of a young boy who remembers a special summer in which his family received their first wireless set.
"Dancing at Lughnasa" (pronounced Loo-na-sa) opened last Friday night to a small, but enthusiastic audience. Directed by theater arts faculty member Stephanie Hunt, "Dancing at Lughnasa" is a lively, though poignant, kickoff to another great season of the Sonoma State performing arts department.
The stage is set for the home of the Mundy Sisters: Kate, Maggie, Agnes, Rose and Chris. Kate (Rebekah Patti) is the patriarchal leader of the family who does not think twice before reprimanding her sisters. Maggie (Caitie Clancey) is the feisty, energetic housekeeper with a knack for creativity and riddles. Next is Agnes (Josette Canilao), a quiet and contemplative knitter who makes a living hand sewing gloves. Rose (Crystal Carpenter) is simple and dim due to a developmental disorder, and spends most of her time with Agnes. Lastly is Chris (Margot Manburg), the youngest sister. She is pretty, though slightly vain, and suffers the scrutiny of having a child out of wedlock.
The story is told from the memory of Chris's son Michael (David O'Connell) as he reflects on one particular summer of his childhood in Ballybeg, Ireland. The family deals with financial problems, a recuperating older brother and a wireless that mysteriously continues to cease playing.
Michael's character, serving as narrator, enters the story at intervals commenting on the action as well as filling in dialogue for his childhood self as he remembers interactions with his mother and aunts.
The play runs a full two and a half hours with only a 10 minute intermission. Despite all its other redeeming qualities, the play's tendency to slow down in places loses attention from the audience. After a very long first act, I needed the full 10 minutes to un-cramp my legs.
"Dancing at Lughnasa" showcases SSU talent at its finest. A small cast of eight provides genuine portrayals of complex characters that they spent many a rehearsal getting to know. In particular, the performance of Caitie Clancey (Maggie) is not only charming and honest, but downright hilarious. Clancey possesses the timing of a true comedic actress and uses it skillfully to break up the heavy mood of the play.
Rebekah Patti's rendition of the righteous mother figure Kate Mundy is not only beautiful but terrifying as well. Patti has mastered her character's hard exterior while still showing us the inner emotional conflicts that plague Kate throughout the play.
Josettte Canilao (Agnes), Crystal Carpenter (Rose) and Margot Manbug (Chris) skillfully deliver performances of the other three sisters.
Patrick Reilly, who plays Michael's charming yet unreliable father Gerry Evans, captures the sly dishonesty of his character with grace. Charles Fanucchi plays the Mundy's absent-minded older brother recently returned from a missionary trip to Uganda. His quaint demeanor and small gestures do wonders for his portrayal of a man aged beyond his years.
A beautifully designed set, courtesy of Evan Patipa, consists of a quaint interior of the main room of the Mundy's cottage. A small yard sits beside it and several rows of auburn wheat line the background against a deep cerulean blue sky dotted with clouds. The ambiance of a quaint Irish home is artistically mastered, from the detailing of the costumes to the attempt of the actors to use Irish accents.
The performance is further enhanced with spirited choreography provided by SSU grad Amy McGrath. McGrath gives us everything from a riotous upbeat Irish stomp to a fluid romantic foxtrot. Though the dance sequences do not show off any particular talent, they are filled with the emotions of the actors, and while none of them are expert foxtrot dancers, the honesty of the dancing only helps to enhance the characters.
And that is the whole point of the play. The characters use dance as a means of expressing what words cannot.
According to Michael, they "dance as if language no longer existed because words were no longer necessary."
There is a lot of talking in this play, and ironically, the moments that have the most impact on the audience are those of the dancing.
The performance is filled with an assortment of highs and lows, ranging from a crazed dance in the kitchen to moments of family loss and mourning. Five women screaming and stamping their feet upon the chairs and banging pots against the stove and spinning each other senseless is an act of rage and happiness they cannot let go of otherwise.
They say that over 90 percent of communication comes from nonverbal cues. But with the performers of "Dancing at Lughnasa" that number is as close to 100 as it can be. If you are willing to sit through a less than fast-paced play, there are hidden moments that are sure to excite, enrich and delight.
The play continues its run every night this week at 7:30 p.m. in Person Theater until Saturday. Tickets are free for SSU students and range from $8-15 for the general public.
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