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Dancing at Lughnasa Critique

Dancing at Lughnasa Critique - Megan Scharar 30 November...

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Megan Scharar 30 November 2011 Dancing at Lughnasa Critique A nostalgic play set in Ireland, Dancing at Lughnasa displays both joy and tragedy through the memory of Michael, the love child of Christina Mundy. Michael reminisces on the summer of 1936, remembering, most, the radio ‘Marconi’, the romance between his father and mother, and the tragic deterioration of Father Jack. Brian Friel’s Dancing at Lughnasa uses the five Mundy sisters, Kate, Maggie, Agnes, Rose, and Chris, to embody and voice the central themes of loneliness and the need for love, financial insecurity, and clashes between the Catholic Church and paganism. All five sisters are unmarried, Chris has a love child making her family a social outcast, Father Jack is slowly fading, and it seems that the entire family is unraveling at the seems. While the play attempted to create a deep connection with the audience, the accents used were too forced and created a disconnect from the audience because of the lack of character believability, the set was too cluttered to incorporate an entire kitchen and landscape including a hanging tree with up to eight people running around and caused much distraction, and although there were many events and subplots within the play, Jack’s malaria, Michael’s father returning, etc., there was no true driving action to shape to the play. The entire play revolves around a small family in 1936 Ireland. It may seem altogether necessary for the actors to use an Irish accent in order to create the proper atmosphere for the play, but the inflection used was overdone and distracted from the actual dialogue. It seemed that
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