Family values

By 1936, the rising tensions that eventually led to World War II are beginning to be felt across the world. It is a time when fear is hiding silently in the dark and dusty cracks of houses in every corner of Europe.

On the outskirts of the small town of Ballybeg in Ireland, there lies an unassuming farm with a slowly decaying farmhouse. Inside lives an 8-year-old boy named Michael, his unwed mother and his four aunts.

To complicate matters, their older brother Jack, a Catholic priest, is returning home after 25 years living in Africa. He was sent by the church to convert remote heathen tribes, but much to his sisters’ dismay, a frail and disoriented Jack has embraced the traditions of the tribes he has lived with for so long and has all but abandoned the teachings of the church, upon which all aspects of local life depend.

The story unfolds through the narrated memories of Michael who, though part of the storyline, is seen only as an adult. He remembers the autumn of this particular year when the house was filled with love and laughter for the last time of his childhood.

The five unmarried Mundy sisters are the focal characters of the tale: The socially-aware teacher, Kate (Ellen Vincent); the real anchor of the family, Maggie, played by Mary Strong (God Bless Us Everyone); the dreamer Agnes, played by Beth Edwards (Harvey, Somebody Else’s Home for Christmas); the simple-minded Rose, played by Cassandra Hesseltine; and Lynn Baker (Reckless, The Miracle Worker) as the lonely romantic Christina, who has soiled the family reputation by having the illegitimate Michael, played by Martin Lain (Harvey, Death of a Salesman) who Father Jack refers to as her love-child with Gerry Evans, played by Mike Begovich (Harvey, Death of a Salesman).

The Actor’s Theatre of Sacramento’s production of Brian Friel’s award-winning play, Dancing at Lughnasa, is directed by Nancy Martis (Beyond Therapy, Valley Song) and produced by Ed Claudio (Valley Song, Long Day’s Journey Into Night). The play has a number of difficult elements to tackle—including various Irish, British and African accents and Irish folk dancing.

Both director and producer fall short in some regards. The pacing, as well, has a tendency to lag, and poor lighting design make the production difficult to watch. However, this doesn’t make the production unwatchable; indeed, the energy and commitment of the cast make any flawed moments forgivable.

Lynn Baker as Christina and Martin Lain in the role of adult Michael deliver well-rounded performances, yet it’s the inspired performance of Mary Strong as Maggie that carries much of the show’s energy.

Though Dancing at Lughnasa may not be as strong as recent productions from the Actor’s Theatre, it’s an enjoyable play with a number of heart-warming moments.