Loving hand brings Irish history to light

Tom Titus

If the 1930s in America was a harsh time, it was a period of even

deeper privation in rural Ireland. Yet, as they did here, people found

ways to combat their troubles, though in both cases the end result often

proved saddening.

Brian Friehl’s Tony award-winning seriocomedy “Dancing at Lughnasa,”

now on stage at Golden West College, focuses on the inhabitants of a

small Irish farm in 1936 as they are recalled by a grown man who

experienced them as a young boy. It’s a memory play, much like Tennessee

Williams’ “The Glass Menagerie,” only from a more distant perspective.

Five unmarried sisters form the nucleus of Friehl’s nostalgic piece,

along with their brother, an aging priest who has spent far too much time

as a missionary in Uganda, and the glib traveling salesman who is

responsible for the narrator’s existence, though he never took the time

to marry the mother. The adult narrator portrays himself as a child,

speaking the youngster’s lines without making eye contact with whomever

is talking to him.

It’s a tender, poetic story and Golden West director Tom Amen has

staged it with a loving hand, bringing the spinster sisters’

personalities gradually to bear from seemingly irrelevant conversation to

life-changing decisions. The result is a beautifully measured, naturally

rendered production.

While the actresses portraying the five sisters are uniformly

effective, Christa Mathis is the most singularly impressive as the boy’s

mother, particularly in her mixed-emotion scenes with her sometime lover

(Mark Bedard). Mathis quietly intensifies her character with facial

reactions speaking volumes.

Brenda Kenworthy is somewhat softer than other actresses who have

played Kate, the elder sister and the family’s only breadwinner. Yet

Kenworthy asserts herself unequivocally when necessary, maintaining an

unspoken authority.

The mischievous, gregarious Maggie is done splendidly by Brenda

Harris, who has resigned herself to spinsterhood, yet misses no

opportunity for playful interaction and is the inspiration for the

spirited dancing sequence, which highlights the first act.

Mary Good simmers convincingly as Agnes, the only sister with enough

gumption to stand up to Kate’s dictates. And Kris Kelley elicits empathy

as the simple-minded Rose, who is a constant worry to her sisters.

Enriching the production considerably is Michael Bielitz’s lightly

woven yet gripping portrayal of Jack, the addled priest who had “gone

native” in Africa and now strains to recall simple English terms. Bielitz

projects his character’s mental deterioration superbly, without resorting

to contrivance or caricature.

Bedard’s slick, charming Gerry hits all the right notes as he paints a

surface picture of a caring father in between various sojourns away from

the farm. And Stephen Silva enacts the grown version of Gerry’s and

Chris’ son in a thoughtful, reflective performance.

The farmhouse kitchen and yard are beautifully represented by scenic

designer Sigrid Hammer Wolf, who also designed the highly effective

lighting. The period costumes by Susan Thomas Babb fit perfectly and

Corinne Carrillo’s sound designs enrich the mood considerably.

“Dancing at Lughnasa” is a play that requires time for an audience to

submit to its laconic style and pacing, but when this occurs it is

irresistible.

F.Y.I.WHAT: “Dancing at Lughnasa”

WHERE: Golden West College Mainstage Theater

WHEN: Closing performances tonight through Saturday at 8 p.m.

COST: $10.50 & $8.50

PHONE: (714) 895-8150* TOM TITUS reviews local theater for the

Independent.