When I cast my memory back to the previous weekend, one of the most prominent memories is that of Brian Friel’s Dancing at Lughnasa, produced in Hall auditorium under Professor Matthew Wright’s direction. Friel’s play, set in Ireland in the summer of 1936, is structured around a series of recollections by the narrator Michael Mundy, played excellently by junior Avery Monson. It is an ambling journey through Michael’s memories, without arc or direction, interesting from a literary point of view but bland in terms of staging. The real meat of the play is in the relationships between the people that populate Michael’s memories and it is from these bonds that the play must draw its force. At this, the production only succeeded halfway.

The most engaging performance came from junior James Keary. Playing the role of Uncle Jack, a missionary priest returned home from Uganda after losing many of his faculties, Keary utilized every moment of stage time, building a character that simultaneously made you smile and broke your heart. He begins the play as a broken man, unable to recollect words and simple things such as the layout of the house. Keary renders the character with both optimism and shame, as a man determined to overcome his flaws but with the fears of doing so on a public stage. When he steps onstage for the second time, intending to go outside, and is met with a wall rather than the expected doorway, Keary’s embarrassed smile is wrenching. Not to be forgotten is the Uncle Jack of Act II, a more vigorous man who shows a lust for life akin to a Carnival Cruise. Keary is just as wonderful in these moments, displaying the joy of a man who has not been able to experience joy for quite a long time.

Strong performances were also delivered by senior Jessica Bedwinek and junior Liza Dickinson. Bedwinek was finally able to display a bit of gusto as Maggie, a boot-wearing smoker. Maggie’s lack of reserve definitely played to Bedwinek’s advantage, as she plays bravado better than most. Dickinson’s performance lay a bit flat until her moment of release, when she leapt into frantic dances and twirls, so unlike her schoolmarmish character, Kate. Her ability to find the humanity in a character that could be so cardboard is commendable.

The rest of the cast deserves credit for their work (was junior Benjamin Sinclair ever more suited for a role?) and decent performances were delivered by most. The only actor who seemed overwhelmed was junior Maggie Keenan-Bolger. Playing the “simple” character of Rose, Kennan-Bolger vacillated between child and simpleton, often dropping her accent in both moments of precociousness and blockheadedness.

While the actors fulfilled their roles, I would venture to say that director Wright did not, beginning with the selection of this piece. Community theaters produce thin plays like Dancing at Lughnasa because they are a pleasing way to spend the afternoon; we should aspire to do more. We should aim to achieve an intellectual and artistic challenge, not a commercial success. That said, given more direction, the play could have been stronger. For example, Wright should have had the courage to cut the swaying done by the cast at the end of the play. Yes, it is in the text, but it simply looked foolish. He could also have placed less emphasis on the construction of pretty stage pictures and charming accents. From the vantage point of the audience, Wright has trained his actors well in the classroom, but on stage, he has lectured them on the joys of posing.

In future moments of daydream, my memories of this production will include the beginning of a strong College acting career, realization of previously ignored acting abilities and further disappointment that the most interesting theater done on campus is directed by students.