Review: Dancing at Lughnasa at Everyman Theatre

By Andrea Bush

Approx. Running Time: 2 hours with a 10-minute intermission

“I know I had a sense of unease, some awareness of a widening breach between what seemed to be and what was, of things changing too quickly before my eyes, of becoming what they ought not to be.”

L-R: Katie Kleiger, Lahbahoise Magee,
and Megan Anderson.
Photo Credit: Teresa Castracane

Dancing at Lughnasa by Brian Friel and Directed and Choreographed by Amber Paige McGinnis, is the story of a memory, told by Michael Evan’s as he looks back across a quarter-century, to August 1936 during the Festival of Lughnasa. The five unmarried Mundy sisters – Michael’s mother, Christina, and his aunts, Kate, Maggie, Agnes, and Rose – live together in a cottage outside the fictional village of Ballybeg, Ireland. Their brother, Father Jack, has returned after 25 years as a missionary on a leper colony in Uganda, with malaria, a spotty memory, and some contrary ideas. Before long, Michael’s charming but unreliable father, Gerry, resurfaces, as well. As the Industrial Revolution finally makes its way to Ireland, we find this family in transition, but between what? Old and new? Real and imagined? Together and apart? Restraint and abandon? Well…yes. Dancing at Lughnasa is a beautiful piece of theatre that may be an entirely different story for each patron.

L-R: Annie Grier, Bari Hochwald, Katie
Kleiger, and Labhaoise Magee.
Photo Credit: Teresa Castracane

The action takes place in and around the Mundy sisters’ cottage, which is brilliantly realized by Set Designer Yu-Hsuan Chen. I am legitimately in such awe of her set that I struggle to find the words to praise it. Chen has so beautifully captured the line between reality and memory with a perfectly-appointed cottage kitchen (complete with smoke from the chimney of the wood-burning stove), the walls of which seem to have dissolved away so we may sneak a glimpse into the lives it contains. The cottage is surrounded by impressions of wind-swept trees and an abstract landscape. I truly felt like I was looking in on someone else’s memory and it made me uncomfortable in the best possible way. Chen’s set is nothing short of perfection.

L-R: Bruce Randolph Nelson, Bari Hochwald, Labhaoise
Magee, Annie Grier, Megan Anderson, Tim Getman, and
Katie Kleiger.
Photo Credit: Teresa Castracane

Upon entering the theatre, patrons are greeted by Irish music, which foretells the wonderful sound design by Phillip Owen. Music (or the lack thereof) is almost another character in the play, and Owen’s design is spot on.

David Burdick’s costume design is excellent and appropriate for each character, and I appreciate Annie Nesmith’s almost-undetectable wig design.

For the most part, the actors seem to have taken well to the dialect coaching of Gary Logan and I was grateful that he chose diction over dialect without losing the authenticity of the accent.

Props Master Jillian Mathews may well deserve an unsung hero award for her work on this production. The sheer volume of “things” on the stage is overwhelming, giving the cottage and yard an authentic, lived-in feel. Kudos to Stage Manager Cat Wallis, as well – it seems like there are so many nearly imperceptible moving parts to this show that no one will ever know, thanks to Wallis.

L-R: Bari Hochwald, Bruce Randolph Nelson, Annie Grier,
Danny Gavigan, Labhaoise Magee, Tim Getman, Katie
Kleiger, and Megan Anderson.
Photo Credit: Teresa Castracane

Jay Herzog’s lighting design is stunning, which is no surprise. I would honestly go see a production at Everyman Theatre just for his design work. In a production that transitions between past and present, we expect to see shifts in lighting to represent the time change, but it is all too often done with a heavy hand, which makes me feel disrespected as an audience member. Herzog takes a gentler approach and his subtle transitions enhance the story, rather than becoming the story. I also always love his use of pools of light, instead of a consistent spot, to track an actor across the stage.

L-R: Megan Anderson and Tim Getman.
Photo Credit: Teresa Castracane

As the play begins, the adult Michael (Tim Getman) invites us into his memory and the lights come up on the rest of the characters in tableau. Getman adeptly breaks the fourth wall consistently throughout the play and his performance feels genuine, never forced or overly sentimental (In fact, none of the actors get weighed down in sentiment, which is a testament to Amber Paige McGinnis’ apt direction of this piece). As he stands outside the action, he also takes on the persona and delivers lines for his seven-year-old self – a challenge for him and his fellow actors to interact without interacting. I enjoyed this device immensely and it is well-handled by all.

L-R: Labhaoise Magee,
Katie Kleiger, Annie Grier,
and Bari Hochwald.
Photo Credit: Teresa
Castracane

The oldest sister, Kate (Bari Hochwald) is stern, but likeable. Toward the beginning of the evening, Hochwald seemed a little unsure of herself, but as the show went on, I thought it might be a character choice that she hasn’t fully settled into yet. I did, however, enjoy her performance. Kate is the practical sister and often has to play the “bad guy” to keep the household going. It would be easy to play the character as mean, but Hochwald finds beautiful layers within Kate and this may be my favorite role that I’ve seen her in.

Megan Anderson’s portrayal of Maggie is a delight. She is sassy and bold and I wanted to be her friend. Her interactions with young Michael, full of riddles and imagination, were some of the most beautiful moments of the show. Anderson’s absolute abandon as she danced and sang and tried to bring lightness to the home made me yearn to get up and dance with her.

L-R: Katie Kleiger, and
Danny Gavigan.
Photo Credit: Teresa
Castracane

Labhaoise Magee is a sweet, childlike Rose, the youngest sister. Her desire to embrace the world is palpable. Magee brings an unexpected combination of innocence and practicality to the role, which was interesting to watch.

Christina (Katie Kleiger) and Gerry (Danny Gavigan) are Michael’s unmarried parents. Kleiger plays the dichotomy between who Christina is on her own and who she is with Gerry with aplomb. Gavigan plays Gerry with just enough charm to make you want him to stay and just enough smarm to make you doubt he ever will, which makes Kleiger’s performance that much more heartbreaking.

Father Jack, played by Bruce Randolph Nelson, is my conundrum for this show. I have to say that I very much enjoyed seeing Bruce Randolph Nelson tell stories about Pagan rituals and be just a bit off his rocker – he really was captivating in his own right. But, in the context of the show, I’d have rather seen Father Jack. Unfortunately, Nelson’s authenticity in the role was lacking, right down to his on-again-off-again accent.

L-R: Bari Hochwald and Megan
Anderson.
Photo Credit: Teresa Castracane

But, Annie Grier’s performance as Agnes is the one I can’t stop thinking about. Agnes is the most subtle sister and her performance is perfectly understated and gorgeous. I couldn’t stop watching her, even as she sat in the background of a scene, knitting. I don’t want to give away her story arc, but I will say that her masterful performance makes it all the more poignant.

Overall, Dancing at Lughnasa is another stunning production from Everyman Theatre. From design to direction to performance, it is a must-see this season. I hope to get back to see it again before it fades to nothing more than a memory.

Dancing at Lughnasa will play through October 7 at Everyman Theatre, 315 West Fayette Street, Baltimore, MD. For tickets, call the Box Office at 410-752-2208 or purchase them online.

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Review: The Book of Joseph at Everyman Theatre

By Jason Crawford Samios-Uy

Running Time: Approx. 2 hours and 15 minutes with one intermission

(l-r) Megan Anderson, Helen Hedman, Beth Hylton, and Bari Hochwald. Credit: ClintonBPhotography

There are secrets in every family whether close or estranged. There are untold stories and questions we may have about or family we just let go of because we either don’t want to know or we don’t know where to find the information and with the current rage of DNA testing and ancestry more and more folks are finding answers to the questions they have about their own families. Everyman Theatre’s latest offering, The Book of Joseph by Karen Hartman is Directed by Noah Himmelstein and is based on the book The Life of Joseph A. Hollander and His Family by Richard Hollander. It is a journey of discovery of a man who was a father, son, brother, uncle, and husband who kept his past in letters and documents that tell an

The Cast of The Book of Joseph. Credit: ClintonBPhotography

extraordinary story of the bonds of family and an unconditional love.

In a nutshell, The Book of Joseph concerns itself with the story of Joseph Hollander, a Polish immigrant who happens to be Jewish, and his correspondence with the family he left behind during World War II, as the Nazi Party took over most of Europe. The story is told by his son, Richard, as he discusses the book he wrote about these correspondences he discovered after the death of Joseph. The thing is, it took years for Richard to read these correspondences because of the fear he had of what he might find out about his family after noticing the Nazi emblems on the letters in his father’s briefcase. Richard had managed to tell the story with kid gloves, glazing over the horrible parts and concentrating on the good parts, while possibly adding a bit of his own optimism. However, Richard’s son, Craig, is determined to get the truth about what happened, even if it means facing a darkness that has been hidden within the family.

Daniel Ettinger’s Set Design is, once again, impeccable, and helps move the story along nicely allowing for easy exits and entrances with thoughtful use of projections and dark colors to express the poignancy of the story. The turntable that takes the audience from one setting to the next is clever and makes for smooth transitions between scenes. Ettinger has created yet another successful design.

(l-r) Wil Love, Beth Hylton, Hannah Kelly, Danny Gavigan, and Bari Hochwald. Credit: ClintonBPhotography

Working in tandem with the Set Design, the Sound Design by Elisheba Ittoop and Lighting Design by Cory Pattak is superb and sets the mood of not only entire production but each scene as well. Pattak uses rays of isolated light and subtle dimming of light to represent the dreariness and uncertainty in the story as well as brightening to express the more uplifting points. Working with the lighting Ittoop’s sound design blends perfectly into the production and may not be noticeable until she wants you to notice it which makes for an intelligent design. Her original compositions are faintly heard in the background during certain scenes, but are fitting and well-thought out. Together, these aspects of light and sound do not hinder the production and performances but enhance and help them along.

David Burdick rarely disappoints and his Costume Design for this production is no different. His attention to detail is immaculate and, being a period piece that requires a specific style, Burdick’s design is spot on. His choice of wardrobe for each character gives them an individuality and the modern and bygone era styles are presented flawlessly and transitions smoothly from one scene to the next. Kudos to Burdick for his work on this production.

Noah Himmelstein takes the helm of this superb production and presents the story clearly with a focused vision. It’s obvious he has a great comprehension of the text, the characters represented, and the message of the story. Himmelstein has amassed a balanced, well-rounded cast with a chemistry that is second to none and his staging is engaging, making for spot on pacing that is just about perfect. Himmelstein should be applauded for his impeccable work on this production.

Danny Gavigan as Joseph (foreground) and Cast. Credit: ClintonBPhotography

Commenting on the performance aspect of this production, it’s worth mentioning that, according to this story, the Hollander family is a family driven by strong women, with Joseph being the only male amongst supportive females. Hellen Hedman as Berta, the matriarch of the Hollander family, plays her character as a woman who has an unencumbered faith in family and puts on a show of strength for her daughters and only son. Hedman is comfortable with her role and plays it with confidence.

In the same vein, Bari Hochwald plays Mania, the eldest sister, and she plays it in a way that makes this character relatable to anyone who has an older sister, like myself. She seems to portray this character as an obligated caretaker, as many eldest children feel, having a nice blend of being both strict and stern as well as compassionate for her family. The match with Everyman Theatre Resident Company member Wil Love as Salo, her husband, is brilliant and Love’s portrayal of a loving and supportive husband with a gentle demeanor is believable and charming.

Bruce Randolph Nelson. Credit: ClintonBPhotography

Beth Hylton, an Everyman Theatre Resident Company member takes on the role of Klara, Joseph’s next eldest sister who seems to be a tough cookie, as well as Felicja Hollander, the first wife of Joseph. Playing these two vastly different characters is a representation of Hylton’s impressive skills as she plays Klara with a rough-around-the-edges but soft on the inside kind of sister and mother who manages to get along no matter what life throws at her and the snooty, uptight Felicja. Kudos to Beth Hylton on a remarkable performance. Along with Hylton’s Klara, Hanna Kelly tackles the role of Genka and the gender-bending role of Boy Arnold. Much like Hylton, Kelly’s portrayal of these roles is a natural and believable switching flawlessly between the anxious and nervous young immigrant, Boy

Arnold, and the young, optimistic, and hopeful Genka.

Megan Anderson and David Gavigan. Credit: ClintonBPhotography

Two highlights in this production are Everyman Theatre Resident Company members Megan Anderson and Daid Gavigan. Anderson takes the roles of Dola, Joseph’s sister to whom he seems to be closest, and Vita, Joseph’s second wife and lifelong love, and Gavigan takes on the titular role of Joseph, the man who kept correspondence with his family and tried to help them immigrate to the United States for as long as he possibly could. Anderson brings her usual energy and confidence to her roles that make her a joy to watch and she has a tight grasp on her strong, independent characters making for a remarkable performance. Gavigan, too, understands the nuances of his character, a conflicted and worried young man who is desperate to help his family. He has a good presence and is confident in this role and it makes for a fantastic performance that is the backbone of this production.

Bruce Randolph Nelson as Richard and Elliott Kashner as Craig. Credit: ClintonBPhotography

Rounding out the cast are two more highlights – Elliott Kashner as Elliott, Joseph’s grandson, and Everyman Theatre Resident Company member Bruce Randolph Nelson as Richard, Joseph’s son. Both these actors bring the modern into this production amidst the flashbacks and memories and they do it seamlessly and they both have a deep comprehension of their characters and the text. Nelson brings a certain levity to this poignant piece that fits in perfectly without making a mockery of the story and his rollercoaster of emotions is clear making for an authentic performance that is a delight to experience. Kashner, who enters later in the piece, is absolutely believable with a great mix of flippancy that makes you want to smack him, a yearning to know his own history, and a compassion for his father. He has a confident presence on stage and it makes for an admirable performance, overall.

Final thought… The Book of Joseph is a poignant, heart-wrenching look into the life of one family during the turbulent and uncertain times during WWII. The story is well framed and structured even though it hops through time, it’s easy to follow in the way the script is laid out. It’s a story that incorporates hope, regret, love of family, survival, and moving on under extreme circumstances. It also has a certain amount of levity mixed in with the tragedy that gives the audience emotional peaks and valleys that make for great theatre. It reminds us of the untold stories of war and strife that don’t come to light until years later when those involved are long gone and we only have letters and documents to put the pieces of the past puzzle together. The performances are extraordinary and the script is well put-together making for a thoughtful and entertaining production as a whole. Once again, Everyman has not disappointed and you don’t want to miss this final production of the 2017-18 season.

This is what I thought of Everyman Theatre’s production of The Book of Joseph… What did you think? Please feel free to leave a comment!

 The Book of Joseph will play through June 10 at Everyman Theatre315 W. Fayette Street, Baltimore, MD. For tickets, call the box office at 410-752-2208 or you can purchase them online.

Email us at backstagebaltimore@gmail.com

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