The Mundy sisters
Dancing at Lughnasa
National Theatre May 2023
Photo by Johan Persson
063 – Dancing at Lughnasa, by Brian Friel
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Brian Friels’ magical memory play, Dancing at Lughnasa, is set at the time of the Irish festival of Lughnasa, when traditional pagan celebrations marked thanksgiving for the harvest. The festival in question takes place in the summer of 1936 in the fictional village of Ballybeg, where the five unmarried Mundy sisters live. The events of that summer are recounted to us as the long-ago memories of the seven-year old son of one of the sisters; memories that are possibly unreliable, but are also funny and poetic and profoundly poignant.
Friel has been called the ‘Irish Chekhov’, partly because many of his plays, like Dancing at Lughnasa, take place in the same rural setting, where he charts the nuances of family dynamics against the backdrop of a defined time and culture. Friel wrote Dancing at Lughnasa at the peak of his career in 1990, in the period when he worked with the Field Day theatre company and produced his other masterpieces Translations and Faith Healer. Loyal listeners will recognise that we covered the latter in episode 43 of the podcast: listen here.
As we record this episode, Dancing at Lughnasa is playing on the Olivier stage at the National Theatre in a gorgeous new production directed by Josie Rourke. I am thrilled to have the privilege to talk with Josie about this spellbinding play.
PS. Coincidentally, Oliver Soden, our guest in our last episode on Noël Coward’s Private Lives volunteered Dancing at Lughnasa as one of his favourite plays, and recommended it for the podcast. We’re delighted to be able to do so Oliver!
Josie Rourke
Josie Rourke is an acclaimed theatre and film director, and the former Artistic Director of the Donmar Warehouse and the Bush Theatre in London.
During her time at the Bush she programmed early work from some of our best playwrights, including James Graham, Lucy Kirkwood, Nick Payne, Penelope Skinner and Jack Thorne.
During her tenure as the first female Artistic Director at the Donmar between 2012 and 2019, there were a great many notable productions, including Phyllida Lloyd’s all-female Shakespeare Trilogy, Mark Gatiss in The Recruiting Officer, Tom Hiddleston in Corialanus, and Conor McPherson’s The Weir, which also transferred to the West End. Likewise her production of Les Liaison Dangereuse in 2015 transferred to both the West End and Broadway. Other credits at the Donmar include: Saint Joan, Measure for Measure, Sweet Charity, The Vote, The Machine, and Privacy.
Other directing includes Much Ado About Nothing, with Davis Tennant and Catherine Tate; the musical City of Angels; and Men Should Weep at the National Theatre.
Her most recent theatre credits include As You Like It at the new Soho Place theatre in December last year, and Lemons Lemons Lemons Lemons Lemons starring Aidan Turner and Jenna Coleman in the West End earlier this year.
She has also directed the film Mary Queen of Scots, starring Sercha Ronan and Margot Robbie, which earned BAFTA and Oscar award nominations. Her last screen project was Alan Bennett’s Talking Heads with Jodie Comer.
Recommended Play
Josie recommended two plays: The Winter’s Tale by William Shakespeare,
and 2nd May 1997 by JackThorne.
Josie Rourke in rehearsal at the National Theatre
Photo by Manuel Harlan
The Footnotes to our episode on Brian Friel’s Dancing at Lughnasa include more on the meaning of dancing in the play, as well as some observations on the characters of Kate and Father Jack.
Additional benefits available to Patrons include Footnotes on the plays covered in the podcast, as well as exclusive access to The Play Review.
Thank you very much for listening and for your support.
Douglas
113 – Arcadia by Tom Stoppard
Published 24th August
Tom Stoppard’s 1993 play, Arcadia is viewed by many as his finest play, renowned for the breadth of its intellectual interrogations and its formal invention. The play is a structural masterpiece of ideas, as well as a teasing detective story, joyous comedy, and emotionally rich exploration of love and loss.
As we record this episode a wonderful new production of Arcadia is playing at the Duke of York’s theatre in London’s West End, following its acclaimed run at the Old Vic theatre earlier this year. I am delighted to share the challenge and the pleasure of exploring Stoppard’s dazzling drama with the director of the new production, Carrie Cracknell.
112 – Glengarry Glen Ross by David Mamet
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David Mamet’s modern American classic, Glengarry Glen Ross, is a blistering commentary on the cut-throat reality of the American dream, and its poisonous impact on those who have bought into the myth and machismo of that dream. The play had its world premiere in the small Cottesloe theatre at the National Theatre in London in September 1983, and was first performed in New York the following year, winning the Pulitzer Prize for Drama. Mamet also wrote the extended screenplay for the star-studded 1992 film version.
As we recorded this episode a new production of the play was playing at the Old Vic theatre in London, with an all-female cast. This is a particularly provocative idea, because one of the primary themes of this play is masculine identity, and the salesmen in this Chicago office do not hold back in their display of machismo.
To explore Mamet’s unflinching slice of 1980s dog-eat-dog capitalism, I am joined by arts journalist Mark Lawson.
111 – The Resistible Rise of Arturo Ui by Bertolt Brecht
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Bertolt Brecht’s ‘gangster spectacle’, The Resistible Rise of Arturo Ui, is both an exuberant and funny piece of theatre, and a chillingly topical political satire. Set in the 1930s Chicago of Al Capone, Brecht presents a parody of the rise of Hitler through the character of the gangster Arturo Ui. The play is a universal cry for vigilance against the rise of unscrupulous, populist leaders who threaten democratic societies and global peace.
As we recorded this episode a new production of the play by the Royal Shakespeare Company was playing in Stratford-upon-Avon, starring Mark Gatiss as the title character.
I am delighted to be joined by both the show’s translator, playwright Stephen Sharkey, and by Brecht scholar, Professor Tom Kuhn, to guide us through Brecht’s political parody.
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