The past is present in Asolo Rep's 'Dancing at Lughnasa'

Brian Friel’s Tony Award-winning “Dancing at Lughnasa" (1990) is a touching memory play about the five Mundy sisters living in rural Ireland in the 1930s. Joe Dowling is directing the upcoming Asolo Rep production. He’s the former artistic director of both the Guthrie Theatre in Minneapolis and the Abbey Theatre in Dublin. Dowling first directed “Dancing at Lughnasa” in Dublin in 1990 — the year of this play’s premiere. According to Dowling, directing it again in 2025 is like visiting an old friend. But it's also like making a new one.

What’s your take on Brian Friel’s writing style?

I’d say … Friel’s writing is poetic at times, but he wasn’t a poet like Seamus Heaney. His strength was in creating rich, believable characters. His dialogue is filled with humor and sharp observations of human nature. Friel’s incredible ability to balance comedy and tragedy are what make his plays so deeply resonant.

Is “Lughnasa” the name of a place?

No. “Lughnasa” is the Irish word for “August.” “Lugh” is also the name of an ancient, Celtic harvest god — and the dance at Lughnasa was a yearly celebration of this being with bonfires and wild dancing. The Church naturally frowned on any such pagan festivals, but they continued long after St. Patrick had arrived. The dance itself was a sort of rebellion.

What’s “Dancing at Lughnasa” about?

It’s a beautifully simple yet complex play set in Ireland during a time of great change. It centers on the five Mundy sisters and their brother, a missionary priest who’s returned home unwell. Their nephew, Michael, tells the story from his perspective. As an adult, he shares his childhood memories of how their household fell apart. But Friel also looks at the troubled world outside the Mundy home. His play touches on themes of family and faith — along with the cultural struggles between Celtic traditions and Catholicism in Ireland, and the African influences the priest brings back with him. Despite those deep themes, the play’s filled with humor and warmth.

It’s also filled with nods to Ireland’s pre-Christian heritage — including the title of the play itself! Works like “Equus” and “The Wicker Man” put a sinister spin on the resurgence of pagan rituals. What’s Friel’s take?

Multilayered — as it should be. Having grown up Catholic in Northern Ireland, Friel understood the complexities of religion and politics in his culture. During the time of this play, strict Catholicism and Ireland’s more ancient, free-spirited traditions were often at odds. “Dancing at Lughnasa” reflects that tension, without taking sides. Friel’s characters are each on their own distinctive spiritual search. They all have very different perspectives.

I understand that Friel drew on his own family history in this play. How autobiographical is it?

It’s not strictly autobiographical, but it is deeply personal. The sisters in this play were inspired by his aunts in the small town of Donegal. Friel’s play captures both the intimacy of family life and the larger forces shaping Ireland at the time. In our time, the house where his aunts lived still exists; efforts are now underway to turn it into a Brian Friel Center.

What’s the role of dance in “Dancing at Lughnasa” …?

Dance in the play serves as both a joyful release and a metaphor for longing and loss. There’s a pivotal dance sequence where the five sisters are swept up by the music from their first radio. It’s a moment of liberation, and a break from their struggles. It’s the dance of life itself.

Ah. As Baba Ram Dass once said, “It’s the only dance there is.” That’s a magical idea. But what’s your approach with the actors who’ll cast the spell?

I trust them to bring their skills to the table. Tyler Michaels King plays Michael, the narrator; he’s an inventive actor with a great sense of musicality. Four of the five actresses playing the Mundy sisters are originally from Ireland, which adds authenticity. My job as a director is really to ensure the actors feel like a family and stay true to Friel’s text.

How do you balance the play’s blend of humor and heartache?

Friel script does that naturally. If we stay true to his text, the humor and tragedy emerge organically. My job as a director is to help the actors mine every nuance from the script. The playwright’s really done my job for me

How have rehearsals been going?

Phenomenally! The level of attention to detail is remarkable at Asolo Rep. We’ve been rehearsing on John Lee Beatty’s actual set — which is almost unheard of in live theater. It allows the actors to fully inhabit the space from day one. That makes for a richer rehearsal process, and a richer performance as well.

How does it feel return to this play after 35 years?

It feels like a completely new play to me. I directed it in 1990 in Dublin, but I barely remember the specifics. I’ve seen great and not-so-great productions over the years, but working with the Asolo Rep cast, I’m rediscovering it in a fresh way.

Any final thoughts?

Just that I’ve truly enjoyed working on this production and rediscovering “Dancing at Lughnasa” with these talented actors. Brian Friel’s play continues to resonate because it captures the joys and struggles of family life so beautifully. That never gets old.