Michael from Dancing at Lughnasa serves as the narrator in this play and he is one of the characters that I followed the most while reading this piece. Michael comes off as someone who is able to understand the tone of his family while taking certain instances to remove himself from the story. Friel skillfully places the narrator into this memory play as both a young boy and an older man recounting life in the fictional town of Ballybeg, Ireland. Michael’s function in Lughnasa reminded me of the juxtaposition from Our Town by Thornton Wilder in terms of following the story of Emily Webb & George Gibbs while learning about the atmospheric details of Grovers Corners via the Stage Manager. Michael also personifies the thematic details/textual conversation in Lughnasa about what memory really is, as well as how bias affects it in almost any context whether it be romantic or familial. The copy of the play that I own is attached with a collection of other plays by Friel and in it, I read more about how Friel did not shy away from experimenting with genre and writing style. Such an experimental mindset is something I find fascinating and I think whenever we as writers approach new works, we should always consider reinventing traditional archetypes.