THE VIRGINIAN-PILOT
Copyright (c) 1995, Landmark Communications, Inc.
DATE: Thursday, November 30, 1995 TAG: 9511280093
SECTION: NORFOLK COMPASS PAGE: 12 EDITION: FINAL
TYPE: Theater review
SOURCE: MONTAGUE GAMMON III
LENGTH: Medium: 75 lines
The ODU production of ``Dancing at Lughnasa'' is about as well-crafted as anyone could want. The acting is crisp and thoughtful. The set is attractive and appropriate; the lighting, costumes and the like all well done.
Perhaps it is the fault of Brian Friel's somewhat predictable script that all this deft execution adds up to a somewhat cool charm. Despite the sentiment built into Friel's nostalgic reminiscence about rural Ireland a half century ago, the play seems rather bloodless.
This restrained, emotional appeal carries a note of unintentional irony. One prominent theme of the play is the conflict between ancient pagan beliefs and formalized, strict Christianity.
The author's thesis is clear. Christianity, or more precisely Roman Catholicism, has dampened the fires of joyous human spontaneity that found free expression under the older forms of nature worship.
The characters are appealing as individual personalities, but somehow the play never provokes the sort of heartfelt interest in the whole story that one might expect.
The play is narrated by a young Irishman, who describes the household in which he was raised as it was the summer of 1936, around the time of an ancient harvest festival called Lughnasa. He was seven years old then; he is about 27 as he remembers the story.
Lughnasa, which incidentally is pronounced loon-a-sa with short a's and the accent on the first syllable, was widely celebrated throughout Ireland in early August.
The narrator, Michael, was illegitimate, and his mother lived with her other four unmarried sisters. One, Rose, was simple minded. Kate, the eldest, was a schoolteacher in their small town and effectively head of the household.
Michael's mother was named Chris, her other sisters Agnes and Maggie. Their brother, who had been a priest in Africa, had just been sent home by his superiors.
The script is well chosen to exhibit the talents of student performers. At ODU, student actors are apt to be exceptionally experienced and able.
Brian T. Salerno carries off Michael's rather lengthy monologues smoothly, stepping into the part of the 7-year-old boy on several occasions with ease.
Adam Jones plays Michael's father, Gerry. He is a charming itinerant who sporadically passes through the boy's life, and the lives of the five sisters. Jones has an unforced, detailed way of bringing this selfish and thoughtless charmer to life.
All the sisters are portrayed with skill. The actresses give multi-dimensional, intelligent readings of their roles and, as an ensemble, give the play its greatest strength.
Tracy Arnold plays Michael's young mother most convincingly, having some particularly effective scenes with Jones late in the play.
Frankie Little Hardin also gets a memorable scene with Jones. Hardin has the part of Agnes, who has also fallen under the spell of Gerry but has restrained her emotions. Her acting throughout is particularly sensitive and open.
Christa Jones, in the part of Maggie, continues to impress with the range of characters she can play.
Sheila Waters has distinguished herself in roles at other theaters and gives the authoritarian, repressed Kate a well-chosen blend of strength overlying hints of vulnerability.
Cortney Morse makes the simple Rose touching and affectionate.
David Fay stepped immediately from another ODU show into this one. This probably accounts for the strong similarities between his performance as a confused Irish priest here and the crazed American vagrant he played just previously.
Whatever one thinks of the script, the acting talent in ``Dancing at Lughnasa' is well worth watching.
``Lughnasa'' was directed by Erlene Hendrix. Chris Bailey designed the scenery, Phil Watson the lights and Keriann Yohler the costumes. by CNB