Everyman Theatre "Dancing at Lughnasa" Play Guide by Everyman Theatre

PLAY GUIDE

EVERYMAN THEATRE G REAT STO RI ES, WELL TOLD.

#bmoreeveryman

A NOTE FROM THE ARTISTIC DIRECTOR By Vincent M. Lancisi, Artistic Director

elcome. Playwright Brian Friel, an intensely private man, delved into the corners of the minds of ordinary people, uncovering the extraordinary individuals from within that are fascinating to see come alive before our very eyes. He recognized the duality in people and the need to find laughter through the tears of struggle. It’s no wonder he was often dubbed the “Irish Chekhov” for the people of his plays are unique and wonderfully contradictory as are the people of life. Dancing at Lughnasa is a play filled with poetic realism. Mr. Friel tells a tale as a master Irish storyteller would, uncovering a family in a fictional town called Ballybeg. Five unmarried sisters in a countryside filled with beauty yet remote from opportunity live under the cloud of poverty and the code of conduct required by the many rules of Catholicism. The five unmarried sisters are outcasts and they fight the good fight to persevere, cherish what they have, and dare to dream. We root for them all the way. Everyman Theatre loves to work on plays of this caliber. Plays about family and communities are well suited to the family of artists that are our Resident Company. Our actors know each other well and behave like a family and bring to their roles the complexities of relationships that create an authentic, detailed world that is layered and nuanced. Our audiences become family when they become regulars at Everyman, subscribers who return to see what the resident company of actors and designers will do with the next play, the next story, the next community they create on stage.

We at Everyman are blessed with one of the most loyal subscriber audiences in the nation. The Shubert Foundation in New York holds Everyman Theatre up to its peers as an example of an organization that breaks with the national trend of a declining subscription audience. Our subscribers renew each year at higher percentages than our peer theatres and that’s what sustains us—or nearly sustains us. For subscribers commit in advance to seeing all the plays that year which allows us to plan ahead and curate a season of plays. Yet one of the benefits in return for the commitment of seeing all the plays is seeing them at a significant discount. This year we created a new category of subscriber, the Super Subscriber, who not only subscribes at a discount but who makes a contribution to the theatre of $100 or more. The price of a ticket only covers half of the costs of producing professional theatre. If we were a for profit organization ticket prices would be over $100 like on Broadway. Your donation helps ensure the future and our ability to keep theatre affordable to everyone who wishes to come see plays here. It is our Super Subscribers who lift us up with their commitment to our season of plays and their support financially. If you are already a Super Subscriber, thank you. If not, please consider becoming one. The benefits are many and the support is invaluable. To learn more, visit everymantheatre.org or contact the development department by emailing development@everymantheatre.org or calling 443.615.7055 x7500. Thank you for coming and enjoy the show.

EVERYMAN THEATRE

Vincent M. Lancisi, Founder, Artistic Director

presents

DANCING AT LUGHNASA Playwright BRIAN FRIEL Director and Choreographer AMBER PAIGE McGINNIS

Maggie............................................................................................................................. MEGAN ANDERSON* Gerry....................................................................................................................................DANNY GAVIGAN* Michael........................................................................................................................................ TIM GETMAN* Agnes........................................................................................................................................... ANNIE GRIER* Kate...................................................................................................................................... BARI HOCHWALD* Chris...........................................................................................................................................KATIE KLEIGER* Rose................................................................................................................................... LABHAOISE MAGEE Richard............................................................................................................. BRUCE RANDOLPH NELSON* Set Design

Lighting Design

JAY HERZOG

DAVID BURDICK

Sound Design & Composition

Dialects

Wigs

YU-HSUAN CHEN PHILLIP OWEN Dramaturgy

Costume Design

GARY LOGAN

ANNE NESMITH

LINDSEY R. BARR

JILLIAN MATHEWS

Props Master

Stage Manager

Recorded Irish Music

Dance Captain

Understudy - Gerry

PIGEON KINGS

MEGAN ANDERSON

STEVE POLITES

CAT WALLIS

Setting: County Donegal, Ireland. August 1936

This production will be performed in two acts with one intermission.

PLEASE TURN OFF ALL CELL PHONES. NO TEXTING. NO EATING IN THE THEATRE. Dancing at Lughnasa is presented by special arrangement with Dramatists Play Service, Inc., New York. Originally produced on the New York stage by Noel Pearson in association with Bill Kenwright and Joseph Harris. References to Anything Goes are included by permission of the Cole Porter Musical and Literary Trusts. References to The Ilse of Capri by Wilhelm Grosz and James Kennedy are included by permission of Polygram International Publishing Inc. and Warner Bros., Inc. The videotaping or making of electronic or other audio and/or visual recordings of this production or distributing recordings on any medium, including the internet, is strictly prohibited, a violation of the author’s rights and actionable under United States copyright law. * Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States

SPONSORS

VIC & NANCY ROMITA DANCING AT LUGHNASA PLAY GUIDE | 1

Brian Friel. Photo courtesy of RTE Archives.

THE PLAYWRIGHT Brian Friel

rian Friel was a dramatist and short story writer born in Northern Ireland. His writings explored social and political life in his native country of Ireland as he delved into themes surrounding family ties, communication, myth-making as a human need, and the tangled relationships between narrative, history, and nationality. Friel’s grandparents were illiterate Irish speakers from Donegal, and they would prove influential in his work as well, which often centered on the divide between religious, rural Ireland and the more progressive Ireland of the north and urban south as seen in Dancing at Lughnasa.

As a child, Friel attended Long Tower School in Derry, Ireland. He continued his education at St. Columb’s College and St. Patrick’s College in Maynooth, where he studied for a career in the priesthood. Friel eventually decided to follow his father into the teaching profession and went on to enter St. Joseph’s Teacher Training College in Belfast. He taught as a school teacher in and around Derry from 1950-60 and in 1954 married Anne Morrison. They went on to have four daughters and one son. As a writer, Friel wrote many short stories and plays for the stage, as well as for radio. After The New Yorker began regular publication of his stories, in 1960, he turned to writing fulltime. In 1963, after a six-month tutelage at the Tyrone Guthrie Theater in Minneapolis, Minnesota, he wrote his first dramatic success, Philadelphia, Here I Come!, produced first at the Dublin Theatre Festival (1964). This play, describing a young Irishman contemplating emigrating from Ireland to America, received a Tony Award nomination for best play in 1966. After writing The Loves of Cass McGuire (1966), the Tony-nominated Lovers (1967), Crystal and Fox (1968), and The Mundy Scheme (1969), Friel turned more to political themes, relating the dilemmas of Irish life and the troubles in Northern Ireland in his work. In 1969, frustrated with the Unionist domination of EVERYMAN THEATRE | 2

Ulster, Ireland, Friel moved to Greencastle in Northern Ireland. Many of his later plays, including the celebrated Dancing at Lughnasa, take place in the rural and in remote settlements of Donegal. Friel’s other notable plays include Aristocrats (1979) and Translations (1980).

Stephen Rea and Brian Friel.

In 1980, Friel co-founded (with actor-director Stephen Rea) the Field Day Theatre Company in Londonderry, Northern Ireland. In 1983 the company began publishing pamphlets, and later anthologies, aimed at the academic community on a wide variety of historical, cultural, and artistic topics. A shy and reclusive man, Friel rarely made public statements. A quote from his own Self Portrait however perhaps sheds some light on the true character of modern Ireland’s leading playwright: ‘I am married, have five children, live in the country, smoke too much, fish a bit, read a lot, worry a lot, get involved in sporadic causes and invariably regret the involvement, and hope that between now and my death I will have acquired a religion, a philosophy, a sense of life that will make the end less frightening than it appears to me at this moment.’ Friel died on October 2, 2015, in his beloved Donegal, Ireland.

IN HIS WORDS On place.. “I’m some sort of displaced person, you know? There is certainly a sense of rootlessness and impermanence (in the characters I write). It may well be the inheritance of being a member of the Northern minority. That could be one of the reasons, where you are certainly at home but in some sense exile is imposed on you. “ On language… “The whole issue of language is a very problematic one for us all on this island. I had grandparents who were native Irish speakers and also two of the four grandparents were illiterate. It’s very close, you know. And to be so close to illiteracy and to a different language is a curious experience. And in some way I don’t think we’ve resolved it. It’s not something we produce for the entertainment of outsiders. And that’s how Irish theatre is viewed, indeed, isn’t it?” On theme... “You delve into a particular corner of yourself that’s dark and uneasy, and you articulate the confusions and the unease of that particular period. When you do that, that’s finished and you acquire other corners of unease and discontent. There are continuing obsessions, like the political thing is a continuing obsession, and I’ve written two or three demonstrably political plays. And I keep saying to myself I’m never going to write another political play, because it’s too transient and because I’m confused about it myself, but I know damn well and I’m sure I’ll have another shot at it again sometime.”

THE PLAY SETTING Act I is set on a warm day in early August, 1936, in the home of the Mundy family. They reside two miles outside the village of Ballybeg, County Donegal, Ireland. Act II takes place in the Mundy residence three weeks later.

CONFLICT A grown Michael Evans reflects on his childhood when he was seven years old, living with his mother and unmarried aunts. That summer, the family unit was forever changed. Each member experienced a transformation and we witness, alongside Michael, a remembrance of the joys and challenges that came to pass.

Brenda Scallon and Liam Neeson in Translations.

County Donegal, Ireland

REAL LIFE INSPIRATIONS I was at a play at the National Theatre with the playwright Thomas Kilroy, we walked across the Waterloo Bridge and up the strand. It was about 11:30 at night and there were homeless people sleeping in the doorways. Tom said, ‘If you talked to those people, I’m sure many of them are Irish.’ And I said, ‘I had two aunts who, I think, ended up something like that.’ He said, ‘Why don’t you write about that?’ So that’s how it began: backward.” According to Kilroy, Friel “told the story of himself as a young man setting off for London in search of the two aunts who had left Donegal years before. What he found was destitution.” Friel’s mother and her four sisters, the McLoones, who lived in Glenties, Co Donegal, are the inspiration for the Mundy sisters in the play. (Apparently Mundy is a common local derivation of the family name McLoone.) Father Jack, the priest who returns home a broken man, is based on their brother Bernard, known as Friar Barney. Indeed, a note from Friel’s diary, contained in the collected Friel papers, which are held in the National Library, says that “I suppose the play is about the McLoone family, Friar Barney—and my father. Family life—make-believe—remembering and remaking the past—betrayal—groping towards love. Really original stuff for me!”

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CHARACTER FAMILY TREE Jack Mundy The eldest sibling in the Mundy family (in his late fifties), and the only brother. A Catholic priest, Jack (or Father Jack) has returned to Ireland from Uganda—where he worked as a missionary in a leper colony—for the first time in twenty-five years. “...there is no distinction between the religious and the secular in their culture. And of course their capacity for fun, for laughing, for practical jokes—they’ve such open hearts! In some respects, they’re not unlike us.” Role: _______________________________

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Using the family roles article on page 10 for reference, fill in the blanks for what role you think each of these characters serves in the Mundy family. Once you have seen the play, come back to your answers to see if your initial impressions have changed or remained the same.

Kate Mundy The eldest sister. 40.. A devout Catholic, Kate is the primary wage-earner in the household and works as a schoolteacher. “You work hard at your job, you try to keep the home together but suddenly you realize that cracks are formin’ everywhere. It’s all about to collapse, Maggie.” Role: _______________________________

Maggie Mundy One of the elder Mundy sisters. 38. A homemaker providing humor and insight. “Your frank opinion, cub: am I vagabond material?” Role: _______________________________

earns income as has taken on an protective role f works alongside maintain order i home.

“How many years since we were at dance?...I want to It’s the Festival of only thirty-five. I

Role: _________________

Agnes Mundy

The middle Mundy sister. 35 years old. she, too, s a knitter, and n especially for Rose. She e Maggie to in the Mundy

s has it been the harvest o dance, Kate. f Lughnasa. I’m want to dance.”

Rose Mundy The second youngest Mundy sister. 32. She contributes income to the family through her knitting. A developmental disability increases Rose’s vulnerability to the outside world, though she is fearless in many ways. “I love you Aggie! I love you more than chocolate biscuits!”

Christina Mundy Referred to as “Chris.” Michael’s mother. 26, the youngest of the five Mundy sisters. “I could dance non-stop all night— all week—all month!” Role: _______________________________

Role: _______________________________

Gerry Evans Michael’s father and Christina’s love interest, despite his fluctuating presence in their lives. He holds a job as a gramophone salesman but has plans to join the International Brigade to fight in the Spanish Civil War. “I thought I’d try my hand at something worty for a change. Give Evans a Big Cause and hew on’t let you down. It’s only the everyday stuff he’s not so successful at.” Role: _______________________________

_______________

Michael Evans The play’s narrator, Michael is seen by the audience as a grown man, recounting memories of his childhood during one particular summer in Ireland. He is Chris’ only son, and Gerry is his father. “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.” Role: _______________________________

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TIMELINE 1881

MEMORY PLAYS FROM AROUND THE WORLD

Memory plays are where the events are narrated and drawn from a character’s memory. The term was first used by Tennessee Williams describing his play, The Glass Menagerie.

Ghosts by Henrik Ibsen Written by Norwegian playwright Henrik Ibsen in 1881 and first staged in Chicago in 1882. Ghosts harshly critiques the morality of the 19th century and on the contrary of regular tragedies, deals with the consequences of not breaking the moral code, addressing topics such as religion, venereal disease, incest, and euthanasia.

Bruce Randolph Nelson and Sophie Hinderberger in Everyman’s 2015 production of Ghosts.

1907

A Dream Play by August Strindberg Written by Swedish playwright August Strindberg in 1902 and first staged in Stockholm in 1907. The play is influential to dramatic Expressionism and Surrealism with the main character Agnes, the daughter of the Vedic God Indra descending to Earth to witness human suffering, meeting people who represent theology, philosophy, medicine, and law, and experiencing human pain such as poverty and cruelty before returning to heaven.

1944

The Glass Menagerie by Tennessee Williams Written by American playwright Tennessee Williams in 1944 and first staged on Broadway in 1945. The play uses prominent autobiographical elements featuring characters based on Williams’ mother and sister. The Glass Menagerie was Williams’ first successful play, winning the New York Drama Critics’ Circle Award and turning Williams into one of America’s most prestigious playwrights.

Sophie Hinderberger and Deborah Hazlett in Everyman’s 2013 production of The Glass Menagerie.

1971

Old Times by Harold Pinter Written by British playwright and Nobel Laureate Harold Pinter and first performed in London in 1971 by the Royal Shakespeare Company. An urbane couple are entertaining the wife’s former roommate and friend whom they have not seen for twenty years. The action shifts back and forth in time, as recollection of what did—or, perhaps, did not happen as the tension builds until the present is overwhelmed with intimations of some frightening past.

1974

Travesties by Tom Stoppard Written by Czech-born British playwright Tom Stoppard and first produced at the Aldwych Theatre, London in 1974 by the Royal Shakespeare Company. The play follows the often faulty memory of Henry Carr, an elderly man who reminisces about his time in Zürich in 1917 during the First World War and his interactions with revolutionary thinkers such as James Joyce leading up to the Russian Revolution.

2017

The Book of Joseph by Karen Hartman Written by American playwright Karen Hartman. The discovery of a stash of letters stamped with Swastikas opens clues to an untold family history spanning multiple generations in The Book of Joseph— the gripping true story of resilience and truth-tracking determination spanning Baltimore and beyond. Richard Hollander’s book, Every Day Lasts a Year: A Jewish Family’s Correspondence from Poland, is brought to the stage in this mesmerizing new adaptation that restores a family’s uncharted legacy—celebrated by revelation and remembrance.

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PAGANISM Paganism is not based on doctrine or liturgy. Many pagans believe 'if it harms none, do what you will'. Following this code, Pagan theology is based primarily on experience, with the aim of Pagan ritual being to make contact with the divine in the world that surrounds them. Paganism encompasses a diverse community with some groups concentrating on specific traditions, practices or elements such as ecology, witchcraft, Celtic traditions or certain gods. Wiccans, Druids, Shamans, Sacred Ecologists, Odinists and Heathens all make up parts of the Pagan community.

COMPARE & CONTRAST: PAGANISM VS. CHRISTIANITY The Triumph of Christianity over Paganism by Gustave Doré

One of the themes in Dancing at Lughnasa is the tension between Christianity and Paganism. Compare and contrast the two religions.

CHRISTIANITY Christianity is the largest religion in the world. It has dominated western culture for centuries and remains the majority religion of Europe and the Americas. Christian beliefs center on the life of Jesus of Nazareth, a teacher and healer who lived in first century Palestine. Name: followers of Christ (Greek christos, Messiah) Adherents: 2.2 billion worldwide Place Founded: Southern Levant (modern-day Israel, Palestine, and Jordan) Date Founded: c. 30 CE Founder(s): Jesus, Peter, Paul Major Branches: Roman Catholic; Eastern Orthodox; Protestant Practices: Prayer, Bible study, baptism, Eucharist (Communion), church on Sundays, numerous holidays. Main Holidays: Easter, Christmas, saints' days Texts: Bible (Hebrew Bible + New Testament) Symbols: Cross, dove, anchor, fish, alpha/omega, chi rho Diety: monotheistic: one God

Name: derived from the Latin paganus, which originally meant “country dweller” or “civilian.” The Oxford English Dictionary defines the word as “a person holding religious beliefs other than those of the main world religions.” That means that “pagan” could technically refer to anyone who is not Christian, Jewish, Muslim, Hindu, Buddhist, or atheist. Generally, though, “paganism” refers to European polytheistic religions. Modern paganism is technically called neopaganism. Many neopagans define paganism as any nature-based polytheistic religion. Adherents: Approximately 1 million in the United States; unknown how many worldwide. Place Founded: various; ancient polytheistic religions were named “Pagan” by Christians starting in the 4th century. Founder: Has no overall founding figure who functions as an object of worship or veneration. Different deities are connected with different times of the year and worshiped in seasonal festivals, and practices like astrology and divination are rooted in the belief in nature's divinity. Pagans are especially interested in the pantheons of northern Europe (Norse) and Britain (Celtic) but also incorporate gods and beliefs of ancient Greek, Roman and Egyptian paganism. Major Branches: various mythologies, Wicca, Druidry, Shamanism, paleopaganism (Celtic, etc), among others. Practices: Some groups concentrate on specific traditions or practices such as ecology, Celtic traditions, or certain gods. Main Holidays: Esbats (moon phases), Sabbats Texts: Various, including Triads, Book of Nature, and the Eddas. Symbols: eye of ra, hamsa, pentacle, hecate’s wheel, triskele, among many others. Diety: polytheistic: many gods and goddesses

VOCAB Lughnasa: a Gaelic festival, celebrated on August 1, marking the beginning of the harvest season. Lughnasa translates to “commemoration of Lugh,” the Irish mythological sun god. Historically, it was widely observed throughout Ireland, Scotland and the Isle of Man.

Comprehension: Identify what you think is the most significant difference between Christianity and Paganism. Are there any similarities? Reflection: Why do you think people choose to affiliate or not affiliate with organized religion?

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Belfast Harbor. Photo courtesy of Belfast Telegraph Archive.

THE INDUSTRIAL REVOLUTION TRANSFORMED BELFAST, MAKING IT IRELAND’S BIGGEST CITY—AND IT ALL BEGAN WITH THE PORT. Alf McCreary, Belfast Telegraph, January 22, 2014

hen King James I granted a Charter of Incorporation to Belfast on April 27 1613, he elevated the town to the status of a corporate borough. There was a clause in this Charter which also gave permission for the establishment of a new quay through which “all and singular merchants, as well inhabitants as foreigners, and all other our liege subjects whatsoever” should be allowed to import and export “all kinds of merchandise or other things.”

The king, however, was not being merely a philanthrophist. He was seeking more political power through the establishment of a new parliament in Ireland to maintain Protestant control, and he was creating around 40 new boroughs, each of which would provide two members for the new institution. James I was also after more money, and this was made clear to those who wanted to establish a port. They would be required to pay to the Crown ‘all and singular our customs as well great as small, subsidies of poundage and other impositions due and payable in our said Port of Carrickfergus, and in the bays and creeks of the same.”This sounded the death knell to Carrick which up to that time had been the major port in Ulster, but it took a long time to establish a good harbour in Belfast. The problem was the mud which silted up the channel and forced larger vessels to put down anchor some distance up the Lough at the Pool of Garmoyle.

Goods then had to be transferred to small vessels, or lighters which transported them to the dockside. This meant a considerable loss through pilferage and tax evasion, and the merchants of Belfast out of self-interest redoubled their efforts to create a first-class harbour. The first major breakthrough seemed to be the establishment of the Ballast Board in 1785, but they had difficulty raising the funds to develop a harbour, and they received little help from the ruling Donegall family—one of whom was an addictive gambler who did not pay his debts. He was known locally as ‘Lord Done ’em all’. It was not until the early 19th century that the real breakthrough took place, and the harbour authorities commissioned William Dargan, an Irish contractor, to cut through the tortuous bends in the River Lagan, and create a proper outlet to the sea. This was named Victoria Channel in honour of the young Queen Victoria, who visited Belfast in 1849, just two years after the establishment of the Belfast Harbour Commissioners who from thenceforth ran the port. The interaction between the town and the port was crucial, and this symbiotic relationship helped to turn Belfast into one of the most prosperous cities in the British Isles during, and for some time after, the Industrial Revolution. The Harbour Board profited so much from the export of linen that even today the symbol of the flax flower is entwined in the ornamentation of their beautiful building in Corporation Square.

THE EVOLUTION OF HOW WE LISTEN TO MUSIC AUGUST 1887 The Phonograph was invented by Thomas Edison, and was the first method of recording and playing sound.

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NOVEMBER 1887 The Gramophone was invented by Emile Berliner in Washington D.C. It was the first invention to start recording on flat discs.

1891 Radios (what we’d call wireless telegraphs today) began to appear on ships at sea

1896 Guglielmo Marconi filed for patent protection of his radio apparatus.

1899 Marconi establishes first radio link between England and France.

Ame R.A t hum ra

Meanwhile, iron shipbuilding was developing rapidly at the Queen’s Island, once known as Dargan’s Island when it was a popular ‘Pleasure Park’ for the ordinary people. Under the dynamic direction of Edward Harland, Gustav Wolff and William Pirrie, among others, Belfast became renowned worldwide as a centre of shipbuilding and of general engineering excellence. This resulted in the development of outstanding ships and seagoing vessels of all kinds. In 1896, the Belfast Harbour Commissioners opened their splendid new extension which, like the completion of the City Hall in 1906, illustrated the exuberance and opulence of the ruling class. Belfast by that time had 350,000 inhabitants and it was the 12th largest city in the British Isles. It was also bigger and more important economically than Dublin, much to the latter’s irritation. From the early 1900s, however, it was all downhill. The shipping industry still maintained its world-class output with liners like the Olympic and the ill-fated Titanic, but the tragic sinking of that iconic vessel was a major blow to the morale of the entire city and province. The slaughter at the Battle of the Somme and the partition of Ireland were also major setbacks which helped to erode the pre-eminence which Belfast enjoyed in the early 19th century. Nevertheless, Belfast Port continued to play an important economic role, and the Harbour Commissioners always had the foresight to plan far ahead. Despite the downturn in shipping, they continued to dredge important new water channels, and their creation of new land with the residue helped to establish a new airport at Sydenham, now the George Best Belfast City Airport. Meanwhile, shipbuilding continued at Harland and Wolff but with diminishing returns. The magnificent Canberra was completed for delivery on May 19, 1961, but Harlands lost £1.2m on the contract. This was to be the last historic launch of its kind, and the subsequent attempts of Harland and Wolff and the British government to keep shipbuilding alive ended in failure. There were other major challenges to face, and Belfast Harbour survived the Troubles and kept the economic lifelines to the Province open. Happily, in recent years there has been a remarkable resurgence of activity in the harbour estate. This includes the diversification of Harland and Wolff, the development of the Titanic Quarter, the success of Titanic Belfast, the establishment of a new marina and other facilities to keep the harbour estate vibrant and relevant to the changing 21st century.

1900 erican scientist A. Fessenden transmists man speech via adiowaves.

1904 First radio transmission of music at Graz, Austria.

MARCH 1948 The LP (also known as the album) is invented and comes in many different sizes, such as 33.3 in, 12 in, 10 in, and 7 in.

This is all a long way from 1613, but the developments of the past 400 years have entwined the Belfast port and the city in one of the most significant partnerships imaginable, and to the mutual benefit of each. The reign of King James I paved the way for some crucial developments in the history of the north of Ireland, including the Royal Schools, and the licence which helped to set up Old Bushmills distillery. However the development of the harbour from humble beginnings, and the influence of the port on the city and vice versa, must rank as one of the most important developments of all in the dramatic and colourful history of Belfast and the province as a whole.

THE LINEN INDUSTRY IN NORTHERN IRELAND As the Industrial Revolution chugged on through the late 1800s, Irish flax linen mills employed thousands of Northern Irish men, women, and children. From sun up till sun down, the workers spun and wove the flax into beautiful linen that was sold throughout the country and the world. The mills used a “wet spinning” technique that kept the factories hot and humid. Workers often went barefoot to avoid slipping. At the end of a 12-hour workday, workers left the factories soaked with water and sweat, stepping into the cool night air. Wages were low and injuries and illness were common among factory workers, but, in 1871, the city of Belfast still boasted over 43,000 workers in the 78 mills that were built nearby. Families moved into towns near the flax mills every year to find employment as factory after factory was built in Northern Ireland. With a strong tradition of flax linen dating from the 6th century, Irish linen was in demand around the world, increasing the number of factories, and with it the number of people employed by the huge industry in Northern Ireland.

Comprehension: In what way(s) did the Industrial Revolution affect Ireland? Reflection: When and where did you see elements of the Industrial Revolution in the play? How did it affect the characters?

MARCH 1962 Multi-track recordings are invented and used by artist such as the Beatles and the Beach Boys.

MARCH 1963 Cassette Tapes are invented by Phillips and become the most popular form of music in several years.

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FAMILY ROLES Innerchange.org

hen you think about your family or a particular family member, you’ve likely thought, “____ always or never does ____”. This is one example of a family role. Family roles shape how we interact with each other in the family system. At times, these roles function to create and maintain a balance in the family system. Family roles have positive and negative aspects to them. The key is understanding how well these roles work for the family and how they help or hurt family members in their effort to establish deep, meaningful, and safe relationships.

The following are a number of roles that can exist within a family:

JULY 1979 Sony’s portable cassette tape player (the Walkman) goes on sale and cost $150. Portable cassette players revolutionized the music industry as you could now listen to music on the go.

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AUGUST 1982 ABBA’s ‘The Visitors’ album is the first CD ever pressed. CD players are introduced and sell for $1,000.

Hero: This is the “good” and “responsible” child. This person is a high achiever, carries the pride of the family, and he/ she overcompensates to avoid looking or feeling inadequate. He/she is often a good leader and organizer, and is goaloriented and self-disciplined. Sometimes the hero lacks the ability to play, relax, follow others, or allow others to be right. Rescuer: The rescuer takes care of others’ needs and emotions and problem-solves for others in the family. The rescuer might have difficulty with conflict. He/she takes on the role of rescuer in the name of helping others, though it is often to meet his/her own needs, such as relieving anxiety. This person doesn’t realize that sometimes helping hurts. He/she also lives with a lot of guilt and finds it challenging to focus on him/herself.

NOVEMBER 1984 Sony invents the battery-powered Discman, which quickly takes over the Walkman.

MAY 1997 MP3 player is released. AM and FM radio is available on MP3 players.

2000 Napster, is released, allowing people to easily share song files. This led to a drop in record sales. Although it was shut down in 2001, Napster was a precursor to free online file sharing.

O App fir wou the diffe the int

Mediator: The mediator can be a rescuer-type although he/ she works to keep peace in the family system. This person does the emotional work of the family to avoid conflict. He/ she acts as a buffer, and does it in the name of helping others, although it may be for his/her needs. This can be a healthy role depending on how the person mediates. Scapegoat/Black sheep: This is the person the other family members feel needs the most help. Usually this is the family member in need of treatment or in treatment. This person often shows the obvious symptoms of the family being unable to work through problems. The person may have strengths such as a sense of humor, a greater level of honesty, and the willingness to be close to his/her feelings. Yet there can also be an inappropriate expression of feelings, and the person may experience social or emotional problems. Switchboard: This person is the central information center in the family. He/she keeps track of what’s going on by being aware of who is doing what and when. This person has strength in being the central person to go to and understanding how the family is doing. However, this person focuses on everyone else’s issues rather than his/her own.

Nurturer: This person provides emotional support, creates safety, is available to others, and can be a mediator. He/she focuses on having and meeting emotional needs, usually in a balanced manner. Thinker: The thinker provides the objective, reasoning focus. His/her strength is being able to see situations in a logical, objective manner. However, he/she may find it difficult to connect emotionally with others. Truthteller: This person reflects the system as it is. At times the challenge is how that information is relayed. Other members in the family might be offended or avoid the truthteller because of the power of the truth he/she holds. Strength occurs when this person is coupled with another positive role, such as a nurturer or cheerleader. Identify the Roles in Your Family Write down your role in the family and the roles you see other family members exhibiting. Which roles don’t benefit your family and which roles would you like to see more of? Discuss this with your family members and make goals to increase those roles you think would benefit your family.

Power broker: This person works at maintaining a hierarchy in the family with him/herself at the top. His/her safety and security with life depends on feeling in control of the environment around him/her. Lost child: The lost child is the subservient good child. He/ she is obedient, passive, and hidden in the family trauma. He/she stays hidden to avoid being a problem. Generally, this person is flexible and easygoing. However, he/she lacks direction, is fearful in making decisions, and follows without questioning. Clown: The clown uses humor to offset the family conflict and to create a sense that things are okay. This person has a talent to readily lighten the moment but he/she hides his/ her true feelings. Cheerleader: The cheerleader provides support and encouragement to others. There is usually balance in taking care of his/her own needs while providing a positive influence on those around him/her.

OCTOBER 2001 ple releases the rst iPod, which uld be known as ‘classic.’ Over 14 erent versions of iPod have been troduced since.

APRIL 2003 Apple releases iTunes to accompany the iPod. iTunes allows users to make playlists, edit files, record CDs and purchase music.

Comprehension: Which role of those described here might some family members avoid, due to the transparent and honest nature of this person’s communication style? Reflection: Of the roles mentioned in the article, with which do you feel you most closely identify? Perhaps you identify with more than one. If you do not see something that describes you, brainstorm a role and an accompanying description.

SEPTEMBER 2005 Pandora Radio launches with the goal of using algorithms to create personalized radio stations based on listener’s preferences. It was one of the early glimpses into the “freemium model,” where users can listen for free with ads or pay $10 per month for uninterrupted streaming.

OCTOBER 2008 Spotify launches to tackle the issues of music piracy, offering a seemingly infinite, catalog of music for audiences to listen to. Rather than get paid per download, artists would receive part of a royalty payment each time their song was streamed.

DANCING AT LUGHNASA PLAY GUIDE | 11

Members of the International Brigade.

THE IRISH TOOK SIDES IN THE SPANISH CIVIL WAR OVER 80 YEARS AGO THIS SUMMER Fearghal McGarry, Irish Central Belfast Telegraph, August 29, 2016

he Spanish Civil War was one of the most controversial conflicts of the last century. The devastation of Spain by the forces of fascism, communism and nationalism divided Europe. The war gripped international attention, compelled individuals to take sides, and motivated activists whose influence would be felt far beyond Spain.

Many regard the International Brigades—the 45,000-strong army of international volunteers which fought for the Spanish Republic—as one of the great achievements of working-class struggle: a testament to the idealism, solidarity and political commitment of that generation. Compared to most other European countries, Ireland’s response to the Spanish Civil War was unusual. The vast majority of Irish people supported Franco* rather than Spain’s democratic government. Similarly, the great majority of Irishmen who fought in Spain did so under General Franco. The principal reason for this was that the war was widely seen as a conflict between communism and Christianity at a time when Irish society was profoundly influenced by Catholicism. On July 20, 1936 reports of a rebellion by army officers in Spain appeared in Irish newspapers. Aside from the Irish Times, most were strongly pro-Franco. The Irish Press declared that Franco ‘must have a large measure of public support’ because of the Republican government’s anticlericalism. Clergy, politicians and the provincial and Catholic press expressed the same opinions. Within weeks, the Catholic hierarchy was openly calling for Franco’s victory. EVERYMAN THEATRE | 12

In the face of this pro-Franco consensus, a tiny campaign of support for the Spanish Republic organized by a small number of left-wing Republicans and Communists struggled to be heard. By the autumn of 1936, two military brigades were preparing to fight in Spain. Most Irish people knew little about Spain or its complicated politics when Franco’s rebellion began. Spain was viewed, like Ireland, as a Catholic nation and, since the early 1930s, the Irish bishops and Catholic press had portrayed Spain as a Catholic state besieged by communism and atheism. When the civil war began, the complexities of the conflict were largely ignored. That the Republic comprised not just communists but also socialists, liberals, middle-class progressives, landless laborers, workers, Catalonians and Catholic Basques was little reported. Franco’s Nationalists were supported not only by the Catholic Church but a reactionary coalition of fascists, army officers, landowners and industrialists. This was [also] ignored. Instead, Irish attention was gripped by news of the anti-clerical violence that swept Republican Spain after Franco’s rebellion. The sensational press reports of these atrocities had an enormous impact on Catholic Ireland. Support for Franco began to develop into a popular movement. In September 1936, Cardinal MacRory expressed the church’s support for Franco: ‘There is no room any longer for any doubts as to the issue at stake in the Spanish conflict. It is a question of whether Spain will remain as she has been so long, a Christian and Catholic land, or a

Bolshevist and anti-God one.’ The depiction of the conflict as a holy war continued. The most significant support for Franco came with the establishment of the Irish Christian Front (ICF) in August 1936, [which] declared: “Anyone who supports the Spanish government supports church burning and priest slaughter.” [That same month], General Eoin O’Duffy, the former Garda commissioner and Blueshirt leader, announced the formation of an Irish Brigade to fight for Franco. By late August, he claimed to have received 7,000 applications although, due to numerous complications, only 700 Irishmen made it to Nationalist Spain.

depth of their commitment to revolutionary goals, which appeared impossible to achieve in the conservative Irish Free State. The Irish Brigade was blighted by bitter infighting between O’Duffy and his officers, and Franco was unimpressed by its lack of military expertise. [Their] first battle in February 1937 occurred when another Nationalist battalion mistook them for the enemy. Their next and final action ended in failure when the [Irish] Brigade’s officers mutinied, refusing an order to attack the well-defended village of Titulcia. Drunkenness and indiscipline added to these problems, and the humiliated [Irish] Brigade was disarmed and ordered out of Spain by Franco. But there were also some difficulties among their International Brigade compatriots on the other side of the front-line. On finding themselves enrolled among the English, Scots, and Welsh of the ‘British Battalion,’ some Irishmen chose to join the American contingent rather than fight alongside the British. But in contrast to O’Duffy’s men, the ‘Connolly Column’— forming part of the more disciplined and committed International Brigades—fought bravely on several fronts between 1936 and 1938. Close to a third of their number died in Spain and many more were injured.

Adolph Hitler and Francisco Franco.

Many of the [Irish] Brigade’s officers, who were former Blueshirts or members of O’Duffy’s fascist National Corporate Party, were motivated by fascism or loyalty to their leader. Some of the volunteers sought adventure or, as one priest put it, a change from ‘standing around staring at the pump.’ But many were genuinely motivated by the belief that the Spanish Civil War was a religious crusade against communism. Most were young men from rural Ireland, few of whom had been exposed to any other analysis of the conflict. Newspaper accounts convey the atmosphere of militant Catholicism as they left Ireland. Although the [Irish] Brigade’s organizers told the volunteers they were ‘part of a crusade prepared to fight under the banner of the Cross to help deliver Spain,’ they were to find the war a very different kind of crusade from what they imagined. Following the formation of the Irish Brigade, and partly in response to it, a smaller contingent of men left Ireland to fight for the Spanish Republic. Led by Republican, Frank Ryan, and organized by the Communist Party of Ireland, around 200 Irishmen (mainly working-class republicans from urban areas) enlisted in the International Brigades. Members of the ‘Connolly Column,’ as they later became known, fought for a variety of motives: anti-fascism, the defense of Spanish democracy, revolutionary idealism, loyalty to the Communist Party, or a desire for adventure. Like Franco’s supporters, many believed in the vital importance of Spain. In contrast to O’Duffy’s followers, most of these men were experienced activists. For these men, Spain represented the

By the time they returned to Ireland, the Spanish Civil War was no longer an important political issue. Atrocities such as the German bombing of Guernica, a village in the Catholic Basque region, undermined the simplistic notion of the Spanish Civil War as a religious crusade. By the summer of 1937, the Irish Brigade had returned in failure and the Christian Front had collapsed under its own internal pressures. Despite this, many veterans of the Connolly Column chose not to return to Ireland, where they knew they would be treated as pariahs; some of those who did return faced suspicion and discrimination for decades to come. The Spanish Civil War is now remembered in Ireland as a conflict between democracy and fascism rather than Christianity and communism. As a result, the veterans of the International Brigades have gradually come to be regarded as heroes, while the Irish Brigade’s crusaders have been forgotten or are reviled as supporters of fascism. Such are the vagaries of history. *Francisco Franco Bahamonde was a Spanish general who ruled over Spain as a military dictator from 1939, after the Nationalist victory in the Spanish Civil War, until his death in 1975.

Comprehension: Which Irish militia fought in support of Francisco Franco? Who led this organization? Reflection: What can you deduce about Gerry Evans, knowing that he enlisted in the International Brigades?

DANCING AT LUGHNASA PLAY GUIDE | 13

Photo courtesy of bcbstwelltuned.com

HOW DO WE REMEMBER? Wonderopolis.org

s human beings, we live in the present. We also spend a lot of time looking forward to the future. But our thoughts and actions are often influenced more by the past. In many ways, who we are stems from where we’ve been and what we’ve done. The snapshots of the important events from our past make up our memory, and that memory guides our future in many ways.

But what exactly is memory? Although we speak of memory as if it were a physical organ, like our brain or spleen, it’s not a physical object that exists within our body. Instead, it’s an ongoing process that involves many parts of our bodies, especially our brains. Memories are mental records of past events. As such, they consist of recollections of our personal experiences. Memory begins with the senses, since that’s how we experience the world. If you think about it, your memories consist of remembrances of things you’ve sensed in the form of touches, tastes, sounds, sights, and smells. As you experience the world around you, your brain decides which information needs to be saved. If you remembered everything you sensed every moment of the day, your brain would soon be so overloaded that you wouldn’t be able to function. Instead of remembering every little thing, your brain picks and chooses what’s important. This is the information that forms your memories. The main part of your brain that does the work of processing memories is called the hippocampus. Scientists believe the memories formed by the hippocampus EVERYMAN THEATRE | 14

get stored in various areas of the cerebral cortex, which is the large outer area of the brain more commonly known as “gray matter.” When your brain stores a memory, it makes another decision about how important that memory is. The brain constantly filters and prioritizes information to avoid becoming overloaded with unnecessary or unimportant information. Memories that only need to be retained for a brief time are put into short-term memory. For example, you might need to remember a phone number only long enough to dial the number or to save it in your phone. Short-term memory has a very limited capacity. Scientists believe most people can retain information about roughly seven things for no more than 20-30 seconds in short-term memory. Of course, you can keep something in short-term memory by repeating it to yourself in order to keep resetting the clock for the short-term memory of that item. The most important information eventually makes its way from short-term memory to long-term memory. This transition can take place because of the inherent importance of the information or as a result of repeated use or intentional repetition. Fortunately, long-term memory does not have the same limits that short-term memory does. The human brain appears to be able to hold an unlimited number of longterm memories for an indefinite amount of time. If you think about it, you’ll realize that some of your most precious memories are from years and years ago!

LOCATIONS MENTIONED Map of Africa

Map of Uganda

Uganda

Kampala

Map of Europe

Stockholm, Sweden

Map of Ireland

County Donegal

Silgo

Ardstraw Carrickfad

Athlone

Armagh

Southwark, England Dublin

Baltinglass Kilkenny

Barcelona, Spain

Capri, Italy

DANCING AT LUGHNASA PLAY GUIDE | 15

Yu-Hsuan Chen talks about the set model during first rehearsal.

CURTAINS UP ON CAREERS:

SET DESIGNER

Interview with Dancing at Lughnasa Set Designer, Yu-Hsuan Chen

Where are you from originally and when did you first develop an interest in theatre? When and why did you decide to pursue theatre professionally? How has your background shaped your career path? I am originally from Taiwan, Taipei. I’ve loved painting since I was a little girl; I feel it’s the closest medium I can express myself. In high school, I was very into literature and films. I found theatre to be a perfect middle land to immerse myself in both worlds, transforming the text into a real space for live performance to happen. Through the theatre department in college, I started seeing a lot of shows and found myself in love with how magical and powerful theatre can be. After working in Taiwan for a year, I was eager to push myself to a higher level for the profession. I came to New York, which has been the best place for me to pursue both theatre and film design. Define the Set Designer’s responsibilities or the scope of your work in relation to bringing a story to life on. I believe the responsibility of a set designer is to create a container for the story to live in. In order to do so, the set designer needs to know the story very well, knowing the need of the action so that he or she can create a space that serves the storytelling. It’s also very important to communicate with all other collaborators (director, light EVERYMAN THEATRE | 16

designer, costume designer, projection designer, sound designer....) so that everyone can work together. How do you find work as a Set Design? What other types of work outside of traditional theatre do you do? Making friends/building career family is one of the keys to get work. Most the offers I get are recommendations from my friends or the people I know. And I always give my 100% to all projects. People might hire you because of your talent, but in order to keep the relationship, you need to win their trust by working hard. Besides traditional theater, I also design short film, promo video, exhibition, pop-up event, and sets for fashion shoot. One of the most exciting projects I am working on now is designing an escape room experience in New York. What skills are necessary to being a set designer? Observation and collaboration. Theatre is a collaborative art; we are both creators and problem solvers who need to work together to make theatre. How do you connect to Dancing at Lughnasa? The story is set in 1930s Ireland, but I feel everyone has an aunt or relative we can relate to in one of the characters in the play. It’s a story about family; it’s about people facing

changes and make their choices, which is a universal experience we share. What challenges does this piece present for you? Any fun facts or insider tidbits you can share that you want to draw our patrons’ attention to? I want the set to give a little more than just a realistic cottage on stage. Finding a way to incorporate the feeling of “memory” in the visual set is a challenge for me. As I read the play, I feel like I’m looking at a family painting or portrait in my grandma’s old house, that everybody seems to be moving rhythmically, as they are dancing. To achieve this in set, I create a frame, as if we are all looking at this big painting or diorama, and let these characters carry us into their lives, dancing with them.

EXTENSION PROJECT Be the playwright. Classroom teachers are invited to assign this project as a means of deeper exploration of key themes and theatrical points of view.

MONOLOGUE A longer speech onstage. Place yourself in Michael’s shoes. Select a memory from your past in response to the prompt I remember when we were whole or I remember when things changed. Who are the characters this memory brings forward? Craft a monologue in your own words looking back on this. Make the memory real with sensory images (hear, smell, feel, touch, taste) and in sharing this memory, articulate what you have learned through your remembrance.

How do you work with the Director and other designers to bring the world of this play to life?

EXTENSION ACTIVITY

We share our thoughts after reading the play. I remember Amber in our first meeting recited a few lines from the end of the play: “...there is one memory of that Lughnasa time that visits me most often; and what fascinates me about that memory is that it owes nothing to fact. That memory atmosphere is more real than incident and everything is simultaneously actual and illusory...” This forms the idea of creating a picture, a visual melody, that seems to be both itself and its own echo. Creating a memory.

Symbolism is using an object or action that means something more than its literal meaning. What symbols did you experience in Dancing at Lughasa? We have started a list for you! Add to it and see if you can explain the symbol here.

Set model for Dancing at Lughnasa.

What piece of work are you most proud of? What is a play you would love to Set Design for? I am most excited to collaborate a piece that I can relate to, that I have feelings about it or can find meaning in it. I don’t like to confine myself into one category or one style so that every production can be a new journey. What advice might you give someone interested in pursuing the profession of Set Design career path? Have an open heart to experience the world. No matter if it’s theatre, concert, film, exhibition, a trip, a speech, a conversation…. All these stimulations and experiences will help to form your design directly or indirectly in the future. Also, try to record your feelings with words/drawings/poetry/ painting. What we do a lot is experience information or emotion and then transform into a new world.

Symbolism A symbol is a literary device that contains several layers of meaning, often concealed at first sight, and is representative of other aspects, concepts or traits than those that are visible in the literal translation alone.

Kite:______________________________________________________ White Rooster:___________________________________________ Tree:_____________________________________________________ Radio:____________________________________________________ New Bike:________________________________________________ ___________________________________________________________ ___________________________________________________________ ___________________________________________________________ ___________________________________________________________ ___________________________________________________________ DANCING AT LUGHNASA PLAY GUIDE | 17

GLOSSARY Abyssinia: historical name for the Ethiopian Empire; ancient country in northeastern Africa bordering the Red Sea and extending from southern Egypt to northern (present-day) Ethiopia. anarchist: a person who rebels against any authority, established order, or ruling power. Annie M.P. Smithson: Annie Mary Patricia Smithson; an Irish novelist, poet and Nationalist born into a Protestant family in Sandymount, Dublin, Ireland.

Donegal: county of the northwestern part of the Republic of Ireland bordering on the Atlantic in Ulster. fags: a colloquial British slang term for cigarette. foxtrot: A smooth, progressive dance characterized by long, continuous flowing movements. It is danced to big band music. Developed in the 1910s, it reached its height of popularity in the 1930s and remains practiced today.

anointed: a term alluding to Last Rites, which are ceremonial prayers and ministrations offered in the Catholic faith to those who are about to die.

Fred Astaire: an American dancer, singer, actor, choreographer, and television presenter. He is widely regarded as one of the most influential entertainers— particularly dancers—in the history of film. Dance partner to Ginger Rogers.

Athlone: a town on the River Shannon near the southern shore of Lough Ree in Ireland.

gander: an adult male goose; also used as an insult to mean “simpleton.”

aul: Irish slang term meaning “old.”

Gandhi: an Indian activist who was the leader of the Indian independence movement against British rule. Employing nonviolent civil disobedience, Gandhi led India to independence and inspired movements for civil rights and freedom across the world.

pagan: a person holding religious beliefs other than those of the main world religions (Judaism, Christianity, Islam, Hinduism, Buddhism, Sikhism). Baltinglass: a town in southwest County Wicklow, Ireland. billberry jam: jam made from the billberry fruit, which closely resembles what we know as blueberries. The fruit is the first of Irish wildberries to ripen each year, and are found in abundance along the hillsides of Ireland. blithe: happy or joyous. brigade: a tactical and administrative unit composed of a headquarters, one or more units of infantry or armor, and supporting units. Carrickfad: a townland in County Leitrim, Ireland. ceili: a party with music, dancing, and often storytelling. Chaplain: a clergyman officially attached to a branch of the military, an institution, or a family or court. chappie: a term with British origins meaning “fellow.” cod-liver oil: oil obtained from liver of the cod fish and often taken in supplement form. It has been linked to improved heart disease, high blood pressure, and arthiritis pain, among other health problems. In the play, it is suggested to treat a pale complexion, as many believe that it brightens the skin. communist: an adherent or advocate of communism: a system in which goods are owned in common and are available to all as needed. comrade: an intimate friend or associate, or a fellow soldier. corner-boy: a disreputable individual who loiters on street corners. Kate uses the term “corner-boy language” to suggest that her sister’s word choice is not becoming or ladylike. De Valera: Éamon de Valera; 1882–1975 Irish politician; prime minister of Ireland (1937–48; 1951–54; 1957–59); president of Ireland (1959–73)

EVERYMAN THEATRE | 18

gansey: The gansey (or guernsey) sweater is a hard-wearing, seamless sweater worn by Fishermen who spent their days at sea. It originates from the Island of Guernsey, where it was developed over 400 years ago. Gilbert & Sullivan: refers to the Victorian-era theatrical partnership of the dramatist W. S. Gilbert (1836–1911) and the composer Arthur Sullivan (1842–1900) and the works they jointly created. Ginger Rogers: an American actress, dancer, and singer. Dance partner to Fred Astaire. house boy: a boy or man employed to undertake domestic duties. hypnotic: of, producing, or relating to hypnosis, the induction of a state of consciousness in which a person apparently loses the power of voluntary action and is highly responsive to suggestion or direction. incantations: a use of spells or verbal charms spoken or sung as a part of a ritual of magic; also a written or recited formula of words designed to produce a particular effect. jaunty: having or expressing a lively, cheerful, and selfconfident manner. jaundiced: a yellow discoloration of the skin and the whites of the eyes caused by increased amounts of bilirubin in the blood. Jaundice is a sign of an underlying disease process. Bilirubin is a by-product of the daily natural breakdown and destruction of red blood cells in the body. In the case of this play, jaundice is a secondary complication of malaria. kidlings: Young children.

leper: a person who has contracted leprosy: an infection which affects the nerves, skin, eyes, and lining of the nose (nasal mucosa). With early diagnosis and treatment, the disease can be cured. Leprosy was once feared as a highly contagious and devastating disease, but now we know it doesn’t spread easily and treatment is very effective. If left untreated, the nerve damage can result in crippling of hands and feet, paralysis, and blindness. Lough Anna: a lake located in County Donegal, Ulster, Ireland. magpie: a black and white bird, widely considered one of the most intelligent animals in the world and one of the only nonmammal species able to recognize itself in a mirror test. malaria: a human disease that is caused by sporozoan parasites (genus Plasmodium) in the red blood cells, is transmitted by the bite of mosquitoes, and is characterized by periodic attacks of chills and fever.

sixpence: a former British monetary unit equal to six pennies. Sligo: a coastal seaport and the county town of County Sligo, Ireland, within the western province of Connacht. socialist: one who advocates or practices socialism: advocating collective or governmental ownership and administration of the means of production and distribution of goods. soda bread: Irish soda bread is a traditional product of a poor country, made with only the most basic of ingredients: flour, baking soda (used as a leavening agent instead of yeast), soured milk to moisten and activate the soda, and salt. surplice: a loose white outer ecclesiastical vestment, usually of knee length with large open sleeves. Swahili: a Bantu language that is a trade and governmental language over much of East Africa and in the Congo region.

Marconi: The shorthand term used in reference to the radio in the play. From the Italian inventor and electrical engineer, Guglielmo Marconi, known for his pioneering work on longdistance radio transmission and for his development of a radio telegraph system.

syndicalist: a person who affiliates with Syndicalism: a movement for transferring the ownership and control of the means of production and distribution to workers’ unions.

Marxist (Marxism): the political, economic, and social principles and policies advocated by Karl Marx; a theory upholding that the material conditions and the economic activities required to fulfill human material needs to explain social phenomena within any given society.

tricorn: a style of hat that was popular during the 18th century. The wide brim of the hat was pinned at three points, thus producing a triangular shape.

miraculous medal: a necklace, typically worn by Catholics, portraying the image of the Virgin Mary; originated by Saint Catherine Labouré following her apparitions of the Blessed Virgin in Paris, France, and made by goldsmith Adrien Vachette. According to the teaching of the Catholic Church, the use of sacramentals such as this medal prepare people to receive grace and dispose them to cooperate with it. Mussolini: Benito Mussolini; Italian Fascist prime Minister from 1922-1943; he unconstitutionally converted Italy to a dictatorship in 1925. He was executed during WWII. notionate: strong-willed or stubborn; having foolish and fanciful notions. omen: an occurrence or phenomenon believed to portend a future event. Oughterard: a small town on the banks of the Owenriff River close to the western shore of Lough Corrib in County Galway, Ireland. parish: in the Christian Church, a small administrative district typically having its own church and a priest or pastor. quinine: In Africa in the 1930s and 1940s, people would take quinine if they had “a touch of malaria.” The drug is extremely potent and can result in giving patients blackwater fever (blackening of urine), dizziness, ringing in the ears, skin rash and visual disturbances.

toff: disparaging; meant to belittle the value or importance of someone or something.

turf: A substitute for coal. Known as peat in other parts of the world, the Irish prefer the term turf, unless referring to hard, compressed fuel blocks known as peat briquettes. Turf was a main source of fuel and heat for the Irish for hundreds of years. Uganda: republic in eastern Africa north of Lake Victoria. unanimity: the quality or state of being unanimous, meaning that two or more people are in full agreement. vagabond: a person who wanders from place to place without a fixed home. Voodoo: a sensationalized pop-culture caricature of voudon, an Afro-Caribbean religion that originated in Haiti, though followers can be found in Jamaica, the Dominican Republic, Brazil, the United States and elsewhere. wastrel: sometimes used as a synonym of vagabond, but can also mean one who expends resources foolishly and selfindulgently. whin-bush: shorthand term for the Ulex flower—a hearty plant with yellow blooms and thorns that lines the Irish countryside. The plant flowers February through May and boasts an aroma of coconut. Wild woodbine: A cigarette brand noted for its strong unfiltered cigarettes. The brand was cheap and popular in the early 20th century with the working-class, as well as with army men during the First and Second World Wars.

scamp: an impish or playful young person. scut: A slang term in Ireland during the 1930’s used to express distaste for another person; derived from scutwork, meaning “the work of a useless person.” DANCING AT LUGHNASA PLAY GUIDE | 19

YOUR THOUGHTS...

Use this space to jot down any thoughts that arise before, during, and/or after the performance. You can bring this with you to the theater and log your thoughts during intermission or on the bus after the show. Then, bring this to the Post-Show Workshop to share with a guest artist. I was surprised by/when…

The most memorable scene was when… because...

I was impacted most by the scene where...

I was confused by… or I wonder why...

SOURCES

Sources used to curate this Play Guide include... http://www.culturenorthernireland.org/features/literature/brian-friel https://www.belfasttelegraph.co.uk/archive/belfast-400/the-industrial-revolution-transformed-belfast-making-it-irelands-biggestcity-and-it-all-began-with-the-port-29224161.html https://www.ancestry.com/contextux/historicalinsights/linen-industry-northern-ireland https://www.irishcentral.com/roots/history/the-irish-took-sides-in-the-spanish-civil-war-80-years-ago-this-summer https://www.innerchange.com/parents-resources/family-roles/ http://www.religionfacts.com/christianity https://www.merriam-webster.com/dictionary/paganism http://www.religionfacts.com/neopaganism http://www.bbc.co.uk/religion/religions/paganism/beliefs/beliefs.shtml https://www.quora.com/What-is-the-difference-between-paganism-and-neopaganism https://www.merriam-webster.com/dictionary http://www.wildflowersofireland.net/plant_detail.php?id_flower=109 https://www.abigailsbakery.com/bread-recipes/history-of-irish-soda-bread.htm https://wonderopolis.org/wonder/how-do-we-remember https://www.irishtimes.com/culture/stage/the-dark-heart-of-dancing-at-lughnasa-1.2332117 EVERYMAN THEATRE | 20

THEATRE ETIQUETTE When you come and see a play, remember to...

Respectfully enjoy the show. While we encourage you to laugh when something is funny, gasp if something shocks you, and listen intently to the action occurring, please remember to be respectful of the performers and fellow audience members. Please turn off or silence all electronic devices before the performance begins. There is no texting or checking your cell phone during the show. The glow of a cell phone can and will be seen from stage. Photography inside the theatre is strictly prohibited. Food and drinks are not allowed in the theatre. Food and drinks should be consumed in the Everyman lobby before or after the show, or during intermission. Be Present. Talking, moving around, checking your phone, or engaging in other activities is distracting to everyone and greatly disrupts the performance’s energy. Stay Safe. Please remain seated and quiet during the performance. Should you need to leave for any reason, re-entrance to the theatre is at the discretion of the house manager. In case of an emergency, please follow the instructions shared by Everyman staff members. Continue the conversation. After your performance, find Everyman Theatre on Facebook, Twitter, and Instagram and use #bmoreeveryman to tell us what you thought!

CURRICULAR TIE-INS From the stage to the classroom...

COMMON CORE STATE STANDARDS CCSS.ELA-LITERACY.RL.11-12.2 Determine two or more themes or central ideas of a text and analyze their development over the course of the text, including how they interact and build on one another to produce a complex account; provide an objective summary of the text. CCSS.ELA-LITERACY.RL.11-12.3 Analyze the impact of the author’s choices regarding how to develop and relate elements of a story or drama (e.g., where a story is set, how the action is ordered, how the characters are introduced and developed). CCSS.ELA-LITERACY.SL.11-12.1 Initiate and participate effectively in a range of collaborative discussions (one-on-one, in groups, and teacher-led) with diverse partners on grades 11-12 topics, texts, and issues, building on others’ ideas and expressing their own clearly and persuasively.

THIS PLAY GUIDE CREATED BY Brianna McCoy, Director of Education & Community Engagement Lisa Langston, Education Program Manager Brenna Horner, Lead Teaching Artist Karim Darwish, Education Apprentice Katherine Marmion, Graphic Designer

CCSS.ELA-LITERACY.SL.11-12.1.C Propel conversations by posing and responding to questions that probe reasoning and evidence; ensure a hearing for a full range of positions on a topic or issue; clarify, verify, or challenge ideas and conclusions; and promote divergent and creative perspectives. NATIONAL CORE ARTS STANDARDS Anchor Standard #6. Convey meaning through the presentation of artistic work. Anchor Standard #7. Perceive and analyze artistic work. Anchor Standard #8. Interpret intent and meaning in artistic work. Anchor Standard #11. Relate artistic ideas and works with societal, cultural and historical context to deepen understanding.

EVERYMAN THEATRE IS LOCATED AT 315 W. Fayette St. Baltimore, MD 21201 Box Office 410.752.2208 Administration 443.615.7055 Email boxoffice@everymantheatre.org

EDUCATION DEPARTMENT If you have questions about the Play Guide, contact our Education Department at education@everymantheatre.org or 443.615.7055 x7142

DANCING AT LUGHNASA PLAY GUIDE | 21

DESIGN YOUR OWN PRODUCTION IMAGERY

For each production at Everyman, our Marketing Department works with artist Jeff Rogers to create imagery that conveys a visual story. What story does the Dancing at Lughnasa artwork on the cover convey? Now itâ&#x20AC;&#x2122;s your turn! Think about the play, Dancing at Lughasa, and design a new image to brand the show. Keep in mind, this image could be used on poster, advertisements, billboards, television, on social media, etc. Share your reactions to the performance using #bmoreeveryman.