“Teaghlach” by Rosa Thomas (GS ’26) expertly tells the story of a sinking house and the family within it. The entirely student-written and produced show ran at the Glicker-Milstein Theater from October 24 to 25.

The first line of dialogue, “This story starts with a house,” aptly anchors the plot of Teaglach. Directly preceded by a chaotic depiction of childhood play so physically intense the actors wore knee pads, this line immediately draws the audience out of the children’s world and into the mind of Meadhbh, who then begins an opening monologue that gradually shifts from the mundane perceptions of a child to the unsettling turmoil beneath them. By the end of the monologue, with Meadhbh screaming to be heard over the intense, crescendoing soundscape, it is clear that this is no ordinary house and no ordinary family. What follows is a ninety-minute, uninterrupted depiction of their unraveling. 

Set in 2000s Ireland, within a crumbling eighteenth-century Baroque manor inhabited by an unsuccessful writer and his three children, Teaglach follows the struggles of the family as the local planning authority attempts to seize their home, which itself is being swallowed by the bog beneath it, all while a tiger discovered in the wine cellar begins to manipulate its inhabitants.

Written by Rosa Thomas (GS ’26), directed by Arsh Vohra (CC ’27), and produced by Kacie Koen (CC ’27) for NOMADS (New and Original Material Authored and Directed by Students), Teaglach successfully navigates many different genres, blending avant-garde experimentation with striking horror elements and even some effective comedic moments. Its surrealist aspects—a talking tiger, mythical bog, and mysterious corpse, amongst others—walk the line between fact and fiction, forcing the audience to question whether what they see is real or imaginary. 

Across the eight-member cast, the acting is consistently strong. Isabelle Jones (BC ‘28) plays the role of Meadhbh with remarkable range, switching seamlessly between polar opposite emotions and excelling in each. She tackles the play’s complex themes in a very convincing and impactful manner, keeping the audience engaged with every word and action. Her performance is only augmented by the acting of Simon Reich (CC ’28) and Lucia Chen (BC ’26), playing Fiachra and Jenny, respectively, with their childlike banter, dynamic movements, and comedic timing.  

However, the standout performance has to be given to the Tiger, played by Lucas Keely (CC ’29). In their bio, they credit their pet cat as inspiration for the role, and it shows. The lightness of their movements and the eeriness of their characterization are truly remarkable. Even in scenes without dialogue or notable action, their silent presence adds a haunting intensity. Overall, this role serves as the glue that allows the play’s surreal elements to land so effectively, leaving the audience completely in awe.  

For the rest of the ensemble, the father’s descent from a laughable misogynist to an unhinged tyrant is played very well by Jack Flesher (CC). Clementine and Milo, played by Riley Dewey (SEAS ‘29) and Catherine Ryan (BC ‘28), grounded some of the play’s more surreal elements, providing moments of clarity amidst the chaos. Dewey doubles as the mostly silent role of the mother, adding to the play’s layered atmosphere. Podge, the bureaucrat from the planning authority played by Sarah Tabak (BC ‘27), brings a comedic presence while underscoring the play’s tension with authority.

Visually, this production utilizes a minimal yet striking set, with large children’s alphabet blocks used as interactive, kinetic elements and a large grassy spiral representing the bog, effectively setting the tone of the play. Props, including childhood toys like Nerf guns and a Twister mat, deepen the show’s message, contrasting moments of play with darker psychological themes. Costuming, hair, and makeup choices complement the show’s design—especially the powerful decision at the end for the children to exchange their bright, colorful clothing for darker, more somber pieces. Additionally, the space of the Glicker-Milstein Theater allows for immersive, intimate seating with two rows surrounding three walls of the room, drawing viewers directly into the world of the play. The walls feature glow-in-the-dark stars reminiscent of a childhood bedroom and well-executed projections depicting crude drawings on the wallpaper. Furthermore, both the lighting and atonal sound design are powerfully used to amplify the tension on stage. Overall, these design elements work cohesively to heighten the emotional impact of the show and elevate it to the next level.

The dialogue layers Irish folklore, literary references, and well-placed humor into a script that challenges the audience to take an active role in its interpretation. If the play does falter, it does so under the weight of its own ambition. With all of the interwoven themes and complex storytelling, the show distinctly pursues depth over clarity, a choice that isn’t necessarily a flaw but does make some aspects of the plot inaccessible, especially to a first-time viewer. Though, conversely, this intricacy also acts as its greatest strength, turning it into a production that could reveal something new with each viewing. Ultimately, Teaghlach stands as an exemplary production of student theater and speaks volumes about the talent present here at Barnard and Columbia.

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