DANCING AT LUGHNASA
Production Photo Gallery
Theatre Fairfield
director: Tom Schwans
sets: Jaclyn Meloni
lights: Lynne Chase
costumes: Julie Leavitt
Dancing at Lughnasa Set Groundplan
Set designer Jaclyn Meloni put the set in the corner of the square, black box space. The photos below were taken from one of the three angles indicated by the arrows.
Ground plan (sans arrows) drawn by Jaclyn Meloni. Used with permission.
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Opening tableau: texture and blue outdoors with windows in the kitchen as Michael tells us of his memories of a summer many years ago as a young boy.
Opening tableau from a different angle. Dreamy memory blue for outdoors as action in the kitchen is highlighted with window light. Michael describes a radio called Marconi, Irish dance music enlivening the house and the return of Uncle Jack after 25 years of missionary work in an African leper colony.
Light focused in the kitchen with texture in the yard outside. Rose bursts into song and dance as the sisters work at household chores in the kitchen.
The kitchen in blue silhouette and the yard in texture as the light focuses on Michael in the aisle. He recounts being surprised at how sickly Uncle Jack looked when he came home. Michael's memory of him came from a photograph of Uncle Jack looking sharp and official in his officer's uniform.
The same monolog from a different angle. The status the family gained from having a brother who was a priest working in a leper colony, helped to balance the shame brought by Michael's birth out of wedlock.
Light focuses on the yard as Maggie releases an imaginary creature for an imaginary Michael. Michael the narrator watches from the shadows.
Light focuses on kitchen as Kate informs them that she met Maggie's old friend Bernie O'Donnell at the Post Office.
With Marconi blasting Irish dance music, the sisters indulge their "pagan" desires. They dance wildly, including on top of the table.
A more intimate dance as Chris is visited by Michael's father. The light focuses on them, in the yard. Maggie and Agnes watch from the window. The light includes them in the scene, yet keeps them separate. Michael watches from the shadows, never venturing onto the actual stage.
Light focuses on Michael as the household and yard drop into shadow. Michael tells of less happy times to come.
With light focused in the kitchen, Uncle Jack tells his sisters about Ugandan harvest ceremonies in Ryanga.
Gerry visits Chris and entertains her with jokes and stories about his unsuccessful selling career. In the darkened kitchen, the sisters continue with household tasks.
Light focused outdoors and the kitchen in shadow as Chris and Gerry enjoy some private moments in the yard.
Rose wipes bilberry stains from her hands as she enjoys memories of her clandestine rendezvous with Danny Bradley. The sisters watch her from the house. Lighting includes them in the scene, yet keeps the focus on Rose and the outdoor yard.
Light focued back in the kitchen. Kate tries to deflect the foreboding of a visit from Vera McLaughlin, by announcing that Sophia McLaughlin is engaged.
The sunset of memories. The family forms a slowly swaying tableau as Michael's memories of that summer take on a rhythm of movement without words.
View from the stage right audience, as Michael recalls the escape into music and motion that forms his memories of that summer.
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