Brian Friel utilizes character orchestration in his play, Dancing at Lughnasa as a device to distinguish each character from one another through their singular voices, and speech patterns. An obvious example would be the character Michael  as the narrator as an adult and then as a young man with in the story. There is a difference between these two characters through tense change. The narrator is speaking of the past and the boy is in the present. The characters also differ because the child speaks in simple, stubbornly short sentences, which also make the boy distinct when amongst other adults of the play as an withdrawn adolescent. The narrator has a better grasp of language, as well as himself.

Another example is of the character Father Jack, a war veteran. A side from assumedly suffering from post-traumatic stress, returning home was also difficult because he fought for the British Army whilst the Catholics and Protestant were at conflict. Brian Friel gave Father Jack a distinctive voice to in culminate this character’s internal struggles. This can be observed through the of many question marks in his dialogue to reflect his uncertainty, as well as ellipses between short phrases. For instance, “Perhaps… I feel the climate so cold… if you would forgive me.”(p27) and then later, “I may do that… thank you… you are most kind” (p27).