Ebook Brian Friel's Dancing at Lughnasa: Screenplay, by Frank McGuinness, Brian Friel
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Brian Friel's Dancing at Lughnasa: Screenplay, by Frank McGuinness, Brian Friel
Ebook Brian Friel's Dancing at Lughnasa: Screenplay, by Frank McGuinness, Brian Friel
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Dancing at Lughnasa is the story of five unmarried sisters in a remote Irish village before the outbreak of World War II.Together, they nurse their brother Jack, a priest recently returned from a 25-year absence, whose pagan leanings threaten to upturn their concept of faith. They also raise Michael, the illegitimate son of their youngest sister, Chris.As August closes and the festival of Lughnasa comes to an end, the sisters' isolated and protected world will either blossom or unravel in this luminous tale of transformation.Dancing at Lughnasa is "suffused with so much beauty, lyricism and heartache that it takes your breath away", wrote Edwin Wilson, while Clive Barnes of the New York Post declared the stage version "a wondrous work fit to be placed alongside the greatest in Irish drama". In the hands of Friel and McGuinness, this screen adaptation promises to move and delight.
- Sales Rank: #3767768 in Books
- Published on: 1998-11
- Original language: English
- Number of items: 1
- Dimensions: 8.75" h x 5.25" w x .50" l,
- Binding: Paperback
- 101 pages
Most helpful customer reviews
4 of 4 people found the following review helpful.
"Dancing...the very heart of life and all its hopes."
By Mary Whipple
Set in Donegal in 1936, during Ireland's change from an agrarian to a more industrial economy, this screenplay of Brian Friel's haunting ensemble drama, on which Frank McGuinness collaborated, tells the story of five sisters and their priest brother in the rural community of Ballybeg on the eve of the harvest festival of Lughnasa. Forty-ish Kate, who sees herself "in charge," is the only real wage earner in the family. Rigid, severe, and completely lacking in humor, she believes pagan celebrations, such as Lughnasa, which provide fun and enjoyment in the countryside, are "uncivilized."
Her brother Jack, the priest, however, on furlough from his missionary work in Uganda, is now virtually a pagan himself. His work has shown him the need of the poor for happiness, dancing, and community celebration, even if it is not church-sanctioned. The other Mundy sisters help illustrate the ironic chasm between Kate's attitudes and those of Fr. Jack. Maggie, the fun-loving, free-spirited, and most humorous of the sisters, constantly bursts into song and dance and longs to go to the town dance. Christina feels no shame whatever about her son, a love-child, and thoroughly enjoys the summer visit of his father, Gerry Evans, with whom she dances spontaneously.
Aggie and Rose, who earn small wages knitting gloves, work tirelessly as the family's sad, "unpaid servants," constantly chafing against Kate's imposition of her own values on them. When the local priest fails to rehire Kate because of Fr. Jack's apparent paganism, the family is devastated, but it is at that moment that they recognize the need to celebrate life itself.
The message in this screenplay is weaker than in the stage play, with much less criticism directed at the "clan of the round collar" and its harsh edicts. Kate is less hostile in the film, and the fates of Aggie and Rose are withheld until the end, for dramatic reasons, and not revealed early, as in the play. Fr. Jack's paganism, regarded as a mental aberration in the screenplay, is treated empathetically in the play, which, though dark, is ultimately a joyful celebration of life itself, a life not bound by organized religion. The film, perhaps in the interest of not offending its audience, suppresses this point of view, presenting a less assertive, and perhaps less realistic, viewpoint. n Mary Whipple
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