Dancing at Lughnasa | Royal Exchange Manchester

In the midst of a period of creative uncertainty for the Royal Exchange Theatre, during which, arguably, inconsistency in execution of their artistic vision for the venue has been the mark of the array of productions being staged in recent years, one cannot deny their willingness and daring to try new things - to push theatrical boundaries, and to bring a variety of different pieces of work to one of the North West’s most unique and fascinating spaces. The latest of these, as we prepare to head into a new era at the theatre, tells of 1930s Ireland, and a family of five unmarried sisters living in a cottage in Ballybeg. The question is, for this critic anyway, are we heading into this highly anticipated transition period on a high, or nursing an unwelcome sense of ennui?

Prior to the beginning of Dancing at Lughnasa, first impressions as we enter the auditorium, as ever, are very strong, and if there’s one thing that is a constant at the Royal Exchange, it’s that they never shirk on scenic design. Francis O’Connor has transformed the space magnificently with a striking, detail oriented visual palate that will elicit plenty of fascinated reactions as you enter. The in-the-round auditorium floor being laden with grass and paving, and a simple but beautifully designed living room set providing the centrepiece, as if we're in the five sisters' humble abode. Additionally, O'Connor's costume design is equally ornate, brilliantly reminiscent of the time period.

The play does well in expressing the themes of religious conflict, and the often tumultuous relationship between tradition and progression, as displayed most prevalently with the introduction of, and mixed response to, the "wireless" into households around the country. Much of the plot centres around memory, both in terms of the loss thereof, and general reminiscence, especially when it comes to scenes concerning Father Jack (expertly portrayed by Frank Laverty) and his patchy memory as a result of illness contracted during his lengthy military service in Africa. And whilst there is a simple sophistication about Brian Friel's writing, something about it just feels stagnant and laborious, feeling as if a more compact narrative has been excessively drawn out to fit a quota, as it has to be said that not an awful lot happens to excite us.

In spite of the long-winded nature of this piece, one can’t ignore the quality of how it’s been brought to life. On top of the myriad of stunning visual elements, including Chris Davey’s gorgeous yet subtle lighting design, the delivery of the material by the majority Irish company (led marvellously by Martha Dunlea, Rachel O’Connell, Siobhán O’Kelly, Laura Pyper and Natalie Radmall-Quirke), though marred by the slow, gruelling script, still feels immeasurably authentic, and they more or less manage to sell the largely character-driven narrative with a good amount of humour and plenty of heart.

This is a play steeped in the notion of a simpler time, when patriarchal ideals very much ruled the roost, and how the desire of women for more enriched lives was often quashed by the need for conformity to societal norms of the day. In spite of the fact that, as someone unfamiliar with the material, it did little to elicit a great deal of excitement or wonder, one still has to admire the commitment of all involved to bring this play to life so vividly, especially in its depictions of more challenging themes.

Dancing at Lughnasa plays at the Royal Exchange in Manchester until 08th November 2025.

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★★★☆☆ (3*)

Gifted tickets in return for an honest review | Photography by Johan Persson