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Comic Capers from Sligo Drama Circlefrom The Sligo Weekender, March 9th, 2001 Webster defines chemistry as "the science of the properties of substances elementary and compound, and the laws of their combination and action one upon the other". If you want to see chemistry in action, though, go and see the final performances of Sligo Drama Circle's "The Odd Couple" this weekend. Put simply, the chemistry that exists between Gerry Ryan (Oscar Madison) and Robert Fitzpatrick (Felix Ungar) on stage makes for a highly entertaining, truly hilarious performance of Neil Simon's evergreen classic.
The two comedy roles were made famous by veteran actors Jack Lemmon and Walter Matthau, but Gerry and Robert, apart from not being Americans, play their roles superbly. I hade the chance to witness the opening night of this production in the Hawk's Well on Tuesday last, March 6th. Any anxiety about letting myself in for a rough ride were dispelled very quickly, as soon as the first laugh echoed around the packed theatre actually.
There is only one thing as cruel as sitting through bad amateur drama, and that's sitting through bad comedy. However, the Sligo Drama Circle have a reputation for excellence which was well founded judging by their latest production. Eight actors and actresses make up the accomplished cast who brought this production to life. Aside from Gerry and Robert, the four mismatched characters who made up the poker playing pals have to be given credit for their superb supporting roles. Murray the Cop (Damien Quinn), Vinny, the hen-pecked husband (John Hannon), Roy the accountant (Eamonn Killilea) and Speed (Lionel Gallagher) the would-be serious poker shark create a superb foil for the drama and actions of Oscar and Felix.
Then there are Simon's superb comic creations the dizzy sisters Gwendolyn and Cecily Pigeon, played by the delectable Terre Duffy and equally delectable Niamh Curley. Laughs have never come as loud as those from the audience generated by these two ladies.
Theatre in Sligo is thriving, and "The Odd Couple" just proves how healthy it is. Sligo Drama Circle should be proud of bringing such a challenging production to the stage and making it work so effectively. If laughter is the best medicine then book yourself in for a therapy session. "The Odd Couple" runs for two further nights, this evening, Friday March 9th and tomorrow, Saturday March 10th at 8.30pm nightly. Contact the Hawk's Well on (071) 61518/61526 and book your tickets.
Story of Ireland of Past Illuminates the Presentfrom St. Louis Post-Dispatch, by Joe Pollack, Saturday March 18th, 1989 If ever a play proved that those who fail to learn from history are doomed to repeat it, or that the more things change the more they remain the same, it's "Juno and the Paycock", the classic drama by Seán O' Casey. It is set in 1922, but more than three generations later, Irishmen are still fighting Irishmen and grinding poverty still has that nation in turmoil. The Sligo Drama Circle, from the Irish community of the same name, brought the play to the Sheldon Thursday night, and while the accents sometimes caused difficulty, the message of the play was loud and clear and the production was good - often very good.
It is depressing to realise how much remains the same, either in truth or in perception, but it's exciting to listen to O' Casey's words coming from actors who are part of the land and the heritage. The story is basic: the Boyle family, deep in poverty, includes father, mother, son and daughter. Jack is a loafer, his wife, Juno, tries to keep things together, son Johnny is crippled from battle wounds in "the troubles", daughter Mary is on strike. Suddenly, like an announcement from heaven, Boyle is told he will receive an inheritance of as much as 200 pounds. Betting on the come, the family buys furniture, clothes and booze, living it up to the highest.
The comedown is savage: the inheritance vanishes through a legal error, the son is executed for being an informer, the daughter is made pregnant by the man who promised the inheritance, seduced her and left town. Eddie Mac Dermottroe is splendid as Jack Boyle, known as the Paycock (peacock) because of his pride. His problems are largely of his own making. He's proud and lazy and not nearly as bright as he thinks he is, and an "old fashioned man" in terms of dominating - even bullying - his wife and children. Mac Dermottroe's lilting strut, his sudden rages, his drunken rantings, are outstanding. He has a perfect match in Lionel Gallagher as Joxer, his neighbour and drinking companion. Joxer is the ultimate sycophant, always turning his face to the kind word, his hand to the full glass, and Gallagher is just wonderful. He is smarmy s he glides across the floor, wormy as he insinuates his great friendship for the Paycock, two-faced as he snarls invective at the Paycock behind his back, lower than low as he steals his last bottle of beer. It's a rich and superior performance.
Ann Mc Dermott, as Juno, doesn't have the opportunity for flamboyance that Mac Dermottroe and Gallagher have, but she help hold the play together even as she fails to hold her family together. She's solid and impressive. Ita Mc Morrow was the other standout as a blowzy-blonde neighbour who makes the most of he appearances. The other performances were less impressive, with Ronan Mc Evilly and Yvonne Curran, as the Boyle son and daughter, respectively, too one-dimensional. O' Casey was the star of the evening, however. Each family member has a story, and he weaves them together seamlessly. Besides, it's always a pleasure to hear a great storyteller at work.
Drama Circle's Directors' DebutPress Cutting, October, 1984 Last week, the Hawk's Well Theatre hosted an interesting and novel evening's drama which also afforded three young directors the opportunities of presenting their productions of one act plays, very much off the beaten track. These plays, which contrasted sharply from each other in many respects, varied from an infrequently performed piece by Seán O' Casey, to a premier performance of a play by a young UCD graduate, Shane Byrne. The three directors, Brenda Boyle, Yvonne Curran and Jane Fitzpatrick are entitled to feel a fair amount of satisfaction and indeed pride, because the evening was not just an intriguing couple of hours of experimental theatre - it was a genuinely entertaining and stimulating programme, even if there were some imperfections here and there.
The programme opened with Brenda Boyle's production of Seán O' Casey's satirical comedy "Bedtime Story" which combined elements of burlesque comedy, with fairly pointed satire of the inhibited society of Ireland in the 1940's. This production succeeded in getting the laughs from the audience but, as is often the pitfall in comedies, the characters tended to be exaggerated, where a more subtle approach may have been more effective. Andrea Carroll was quite impressive on the part of Angela Nightingale, her brassy performance leaving little doubt about her talent for weaving an intelligent web, in which the pious John Joe Mulligan becomes inextricably ensnared. John Gaffney showed good promise in the part of Dan Halibut, his Cavan/Dublin hybrid accent being apt for the part of the provincial man-about-town in the play. I thought the set, whilst comprising carefully selected props, seemed to be somewhat restrictive and appeared to inhibit the movement of the cast on stage.
The most interesting offering of the evening's programme was undoubtedly Yvonne Curran's production of "Worlds Apart", the futuristic, space-age play by Shane Byrne. Briefly, this play was Beckett-like in its treatment of the hopeless dilemma of three astronauts in an ill-fated voyage to Titan, one of the moons of the planet Saturn. This play was very cleverly written, with many witty and ironical allusions in the script. The play was well handled by the director and her cast, and good, even performances were given by the youthful cast of Tom O' Dowd, Padraig Harte, Frank Clinton, Brid Feehily and John Carty.
The last offering of the evening was an intriguing an subtle satire, which falls into the category of "Theatre of the Absurd". The setting was the type of desert island, depicted in newspaper and magazine cartoons, complete with a single coconut palm and miscellaneous flotsam and jetsam, washed up on the golden, tropical sand. Among these items, after a storybook shipwreck, are the only survivors, Arthur, who can hink but cannot take action, and the pragmatic Doreen, whose best friend is her Mum. Matters on the tropical island take a strange turn, when mum is eventually conjured up to materialise on the island. A shadowy figure, who turn out to be Arthur and Doreen's offspring-to-be, wishes to be a brain surgeon, a somewhat impossible aspiration in an isolated desert island! The play is essentially a send-up of conventional society and mores and Jane Fitzpatrick's production was competent and interesting. In short, it was an intriguing play, intelligently handled. Ann Hamill, as Doreen was impressive in her stage debut, and Collette Mc Bride was also very good as mum. Larry Tierney as Arthur and Patrick Mc Grath as Normal also showed promise.
I think Sligo Drama Circle are to be commended for giving valuable directing, producing and acting experience to young directors and their teams, as well as giving the theatre-going public an opportunity of seeing production of avant-garde and refreshing new work.
Antigone "Brave Choice" by SligoUnknown Press Report, March 1981 City of Derry drama festival continued at Magee University College last night with "Antigone" by the Sligo Drama Circle. In his adjudication, Mr. Ray Mc Anally commended the group for their choice of play. Though not always viable in the commercial theatre, he said it was a brave and exciting choice for presentation to a festival audience. "To play Antigone is a major achievement", he said and congratulated Marianne Fahy for her very strong performance in the title role.
He criticised the production for putting too much emphasis on the emotional side of the play and not enough on the intellectual argument. Also the piece slowed drastically towards the end and the audience lost concentration. Likening tragedy to a coiled spring which gradually unwinds, Mr. Mc Anally said in this case the spring had lost its momentum and the continual driving force of the tragedy was missing.
Standing Room Onlyfrom The Sligo Champion, "On the Line" by Seamus Finn, September 5th, 1980 It was standing room only at The Venue, Strandhill when "Endgame" by Samuel Beckett completed a three day run. An audience of more than 160, few of whom had seen a Beckett play before, expressed their enthusiasm with prolonged applause and glowing post-curtain comments. The laughed uproaringly at the slapstick humour which came as a plasnat surprise because, as one said: "I thought Beckett was a pessimist who viewed life darkly". As the lights dimmed on the cast - Walter Mc Donagh, Lionel Gallagher, Joe Meehan, Joan Fitzpatrick - it was clear the first Beckett creation presented by the Sligo Drama Circle was an unqualified success.
Fred Zeserson, Dromard, who produced the show, said it was the fruition of a 13-year dream: "The remarkable performance by the actors, who were directed by a visiting American, Philip Price, and the audience acceptance prove we have a responsive chord in the community", Zeserson said. "I am delighted because now that the Irish Nobel Prizewinner has been welcomed here I look forward to seeing more Beckett in Sligo. In addition to the actors who already know how grateful I am to them, I'd like to thank Mary Brecht, Dave and Betty Meehan, Ken Crier, Padraig Lynott, Pegeen Doyle and James Farrell, a Dromard carpenter, who constructed the stage and set from timber kindly loaned by Meldrums on pallerts from O Connor Bros.", he added.
Pub owner, Kevin Flynn, was singled out for making his back room available free of charge and for remaining unperturbed while walls were painted, lights installed and the premises generally disrupted. One Drama Circle Member seems to have summed up the general attitude of the theatre goers: "I attended as a duty to the project and was overwhelmed by the brilliant performance of Walter and Lionel in their incredibly difficult roles ........ Beckett's use of the stage has opened my mind. I don't think I'll ever go to a play again without seeing everything a little differently".
"Endgame" - An Examination of Ordinariness Triumphs Over Apathyfrom The Western Journal, September 5th, 1980 It was with a heavy conscience that I visited Kevin Flynn's "Venue" on Tuesday night where Sligo Drama Circle members staged Samuel Beckett's "Endgame". This summer the Circle have given Sligo audiences two other works, "The Tailor and Ansty" and "Letters of a Matchmaker", both of which deserved reviews in this column. Such enterprise is deserving of recognition in any paper which associates itself with the locality - the only excuse I can offer is that duties at the Journal's Ballina Head Office are, these times, curtailing my nights in home territory. The Drama Circle's production of "Endgame" deserves to be seen by more people. On the Tuesday night a little over fifty people were present - a situation which an insult to Beckett's genius and the efforts of Sligo Drama Circle as well as an indictment against those who weren't there.
It is a complex awesome work and even though "Endgame" has only four characters, two of them with minor roles, it never became boring during its eighty minutes. Some critics consider Beckett the most important playwright of the twentieth century; others are less kind. The production at the Venue would help one to understand why such divers opinions exist. The play itself has similarities with another of Beckett's works "Waiting for Godot"; the impatience of the conversation between Clov and Hamm, the absurdity of much of their normal behaviour, the patterns and twists of the games they play as Hamm's end approaches are typical Beckett. So, too, was the scantily clad setting. It all put one in mind of one critic's comment: "Never was the movement towards silence so talkatively expressed". In Beckett's often there is an examination of ordinariness. Even in such a basically sad work as "Endgame" he managed to weave much humour into the work. Maybe that's not surprising really - Beckett, who spent much of his own schooldays in nearby Enniskillen, actually met his wife after he had been stabbed in a street.
The Drama Circle's production was technically very efficient with none of the actors getting in the way of the characters they represented. Lighting and props (apart from the alarm clock which didn't work) and stage design were adequate with sensible rather than outrageously adventurous production and direction. Among those in attendance at the Tuesday production were the daughter and grand-daughter of the famous German playwright an poet Bertold Brecht, a literary giant. He it was who once wrote: "I carry a brick on my shoulder so that everyone will know what my house looks like". And to think that on the same night that Brecht's family were among an attendance of fifty people at a Beckett play in Sligo, almost 1,000 people queued to see Makem and Clancy a few hundred yards away .......
One looks forward to more drama at "The Venue" and to better recognition of the Drama Circle's endeavour.
"Go and See This" - Review of "All Souls' Night"from The Western Journal, August 3rd, 1979 Regardless of the tuppence increase, the Sligo pints are still being bought in the thousands each night. There's TV congregations glued to "My Son, My Son" and Superman and James Bond have processions coming to see them. Yet the Drama Circle who've provided the now "prosperous" Sligo with a little bit of culture through good and bad times can only muster a crowd of twenty two for one of their productions. O, Mother Ireland, Yeats would be fully entitled to go turning in his much visited grave. If the performance was bad, I suppose you could excuse such a massive insult by the Sligo public. But the truth is the cast and the backstage crew squeeze the last drop of blood out of "All Souls' Night" and they deserve to be showing to packed houses.
It's a three act play, written by Northerner Joseph Tomelty, and dealing with the trials of a sea faring family, the Quinns. The woman of the house is a crochety old bitch, her husband has got used to her wicked ways, but their only remaining son is as hot-tempered as he is anxious to rise above his poverty-stricken, simple surroundings. The work is given life by the family's bitter war with the sea. You've only to think back to the Achill grief of a fortnight ago to imagine the struggle that the author has cleverly interwoven into the play. It's by no means a perfectly written play. It lacks sufficient humour relief to highlight the more tragic scenes, and the third act in particular is slow moving. But it has sufficient ingredients to let a good cast and production team show their talents and this Sligo Drama Circle team simply revel in the challenge.
Only seven players are required for the production so the Circle can provide that depth of talent throughout the cast that "All Souls' Night" demands for it to be successful. Liam Mc Kinney could not be more at home in the part of the tragic likeable father John Quinn. It's a fine tribute to Mary Quigley (Katherine Quinn) that she should depict badness with such utter conviction in this, her stage debut,. John Caheny plays Michael, the couple's ambitious young son, and he fits into the role nicely, with the minimum of fuss. Molly, played by Sheila Horan, is the very essence of harmless mischief and it is simple to imagine that she would "throw back her head laughing at her husband drunk" as she promises her prospective father-in-law she'd do one time during the play. Kieran Hickey, who plays Mr. Thurston, and Joe Meehan (Tom Byers) have parts of lesser importance, but they, and Tony Mc Niffe (who plays Stephen Quinn) but doesn't have a word to say - nevertheless he never puts a foot wrong!) carry themselves with such "professionalism that they give the cast a consistency of strength throughout.
It's a plat with some marvellously gentle scenes - Molly teaching John to read; the grief-stricken husband handing back a deposit book which his wife has hoarded all through the marriage; the impatient son quarrelling with his girlfriend; the father and son rising above their "station" to look for money from the bank manager. These combine to make "All Souls' Night" something more than a night's entertainment. The performance has its faults. In the "talking from the dead scene", for example, the voices are so faint that you'd swear the hotline from heaven must have run into Post Office difficulties. In the beginning, too, some of the cast have a hint of bother with the Northern accents, but as time goes by and they become involved in their roles, the failings diminish. These are but minor details and not matters of conflict when one is dealing with Amateur Drama.
They say people get the politicians they deserve. If that can be applied to drama. then the Sligo public are being well and truly spoiled. For God's sake, will you recognise how lucky we are to have such a marvellous drama group and get a few friends and go along to see "All Souls' Night". The publicans, dance promoters, television and film stars wouldn't mind you going off for just one night.
Production team: Continuity, Mary Matthews; Sound, Pauric Foran; Set Design, Liam Mc Kinney; Setting, Tommy Lindy and Tony Mc Niffe; Costumes, Damian Brennan and Bernadette Forde; Lighting, Barry Mc Kinney; Produced and Directed, Pauric Foran and Liam Mc Kinney.
Fiddler Brought Down the Rooffrom The Western Journal, by Tommy Gorman, January 26th, 1979 A willingness to make allowances is definitely one of the best ways to guard against disappointment. One should always be prepared to look on anything produced voluntarily by local individuals and groups with a kind, sympathetic and understanding eye. Stage productions at a local level are a case in point. Those involved are one's neighbours - people drawn from our community who have jobs to do, roles to play within families and very often, little or no hard and fast experience of theatrical capers. So, when one can avail of alternative entertainment to the cinema, the pub and the blessed television, and the substitute happens to be a local drama production, one goes along with an open heart. Understanding allows one to accept as normal, Sligo stage accents, nervous actors sometimes running out of lines and standing petrified waiting for the prompt to come, half drawn curtains being brought the rest of the journey by a zealous stage hand, and such like. It was with these thoughts that we went along to Sligo Drama Circle's version of Fiddler on the Roof. But how unnecessary our readiness to allow for the 'amateur' content of The Fiddler proved to be. To call it a 'professional production' would not do it justice - such a verdict excludes room for the electric enthusiasm of people making their stage debut which certainly was a feature of the Drama Circle venture. It really was a magnificent spectacle from start to finish, and deceased members of the Circle, looking down from the balconies of heaven must, most definitely, have been thoroughly pleased.
Joseph Steun's Fiddler on the Roof is by no means the perfect musical. 'If I were a Rich Man' apart, it does not have the infectious songs one is liable to pick up and go around whistling unknown to oneself, as happens after a viewing of Oaklahoma, My Fair Lady, The Sound of Music or Evita. Story-wise, the Fiddler is sometimes patchy. There's too great a contrast between the first and second acts. Whereas the opening one is light and frivolous with precious little hint of seriousness, the second is much more grim and true to life. Another major fault in the three-hour musical is its absence of anywhere near well-developed characters. Apart from a handful of parts, the task of making any real impression on the audience rests fairly and squarely on the shoulders of the actors and actresses. All these factors combined to lay down a firm challenge for the Drama Circle and the call was answered supremely well. The seeds of success were sewn in the beginning: little things like the acquisition of an accordeon for the orchestra. A staff including organising secretaries, a press and publicity department and a business committee was also set up; someone even had the foresight to see that a Social Club would be organised for the Grand Hotel after each night's production
In those very early days too the casting was completed and this was a task which demanded meticulous attention because of the nature of The Fiddler show. People like Paddy Dooney (Mordcha) who proved to be a spirited dancer as well as a shrewd innkeeper, Mick Kilcoyne (Rabbi), Lionel Gallagher (Mendel), Martin Mc Dermottroe (Fyedka), Liz Mc Elhone (Grandma) and Mary Matthews (Shande) played their parts with such excellence that they made characters out of what might just have been names. The choice and arrangement of the chorus was another factor vital to the success of the production. On the opening night when we found ourselves in the unusual position of being seated among the guests, we feared the neighbours might be a little too genteel. Yet once the chorus made their early entry the quality of the singing where the voice of Frances Monaghan sounded particularly well, was so powerful and impressive, the audience had no option but to burst into generous applause. In fact, the County Manager, a man knowledgeable on so many affairs, and who was sitting in the second row, was the cheer-leader who showed us all the way!
From once the show began t never sagged. The production was lined with the subtle crafts of the off-stage personnel. There was, for example, the orchestra and stage and lighting design crew combining to create a distinct sense of the atmosphere at the lighting of the candles scene during the Sabbath Supper. Then came the hand of the master producer Liam Mc Kinney when he held the audience spellbound, creating eeriness during the dream scene in Tevye's bedroom, complete surprise when the marriage of Tzeitel and Motel was broken up and sympathy when both Hodel and Chava and then the entire family had to leave the village. Kieran Hickey (Tevye) could have been frightened by the knowledge that ass the lead character he had the potential to damn or make the show. One went to the Town Hall with the knowledge that Kieran was the brother of The Riordan's character Benji. From now on we will think of Benji as Kieran's brother.The example given by the lead must have been an inspiration to those around him. Technical qualities like the accent, the movements, the singing and timing were measured to perfection. Tevye was portrayed as an understanding and loving father, a husband wise to his wife's ways, a respected member of the village.
Joan Fitzpatrick's portrayal of Golde (the wife of Tevye) was equally impressive. For a Russian Jew who mothered five handsome daughters, she also looked remarkably well! Like her husband, she suggested there were several sides to her - the audience saw Golde, the henpecker; Golde, the understanding mother who accepted her daughter's marriage outside the fold; Golde, the woman frightened of dreams and evil spirits and Golde, the loving wife after 25 years of marriage. That passage where the husband questioned his wife about her love for him was perhaps the most captivating one of the entire play. Humour, disappointment, impatience and love were delicately interwoven by the two characters. All five daughters bore resemblance to their parents. Martina Cullen (Tzeitel), a most promising talent for musical productions, had most in common with the mother. She had a fitting husband in Tony Mc Niffe (Motel) whose singing was unsurpassed during the show. Rita Barr (Hodel), a young girl with a great family tradition in music and drama, exuded confidence. Her experiences with the Bunratty Singers certainly serves her well and her sortis with Damien Brennan (Perchik) were as amusing as they were realistic. As Perchik, the radical schoolteacher with so many new ideas who eventually falls victim to the oldest curse in the history of mankind, love. Damien had a difficult task. But he played the part with great understanding and conviction.
Different talents were sought from Sheila Horan (Chava), the third daughter who was destined to elope with the non-Jewish Fyedka (Martin Mc Dermottroe). She had to come across as the most loved daughter of all, a task all the more formidable as a result of her absence of lines, but the fragile, tender interpretation which Sheila succeeded in getting across stamped a real mark of quality on her contribution. The remaining two daughters, Jackie Lane (Shprintle) and Felicity Hynes (Bielke) also kept the family flag flying. Kieran Kelly (Lazar Worfe) is someone we're not used to seeing in Drama Circle's productions. At times he tended to be the show's only villain, apart from a most forceful Constable (Tony Kavanagh - on the particular night) but like so many of the new faces in the Circle, not only did he seem at home on the stage, he also appeared to be thoroughly enjoying himself.
The whole night smacked of excellence, from make-up and lighting, to choreography by Pat Verdon, stage management and house management right through to the acting, the orchestra with Sheila Crowley as conductor, the music which was the responsibility of Kathleen O' Hara, and what his lordship Bishop Conway described as the masterful production of Liam Mc Kinney, it was marvellous to see so many people involved - there were, for example, two generations of Burns and the Blennerhassetts in the orchestra - and if one can learn any lesson from The Fiddler, it is the wealth of talent that exists within this community, all of which can be properly harnessed and used to create many happy memories. Congratulations and genuine thanks are extended to all those involved.
Drama Circle's Production of "Sive"from The Sligo Champion, July 21st, 1978 In a curious way John B. Keane has created plays which, though written so recently, have already something of the quality of collector's items. Keane, who owns a public house in Listowel - that breeding ground of literary people - has chosen in his plays to put characters on the stage who are shadows and mouthpieces of an Ireland which is already past. The dialogue he uses is particular to Kerry but has much in common with other parts of Ireland. Keane's plays come across best when presented in a lively and spirited manner since there is little style of speech or twist of plot for the seasoned theatre-goer. For the foreign tourist, watching a Keane play is the equivalent of picking up an Irish antique.
Sligo Drama Circle Director, Walter Mc Donagh, handles this antique with care in his production of "Sive". His expertise shows in the cleverly constructed set and the tempo of the production. The costumes are pleasing and the lighting good. However, a bolder use of sound effects to suggest the existence of an outside world beyond the cottage interior on stage would be an improvement. As Mena and Mike Glavin, Ann Mc Dermott and Ray Cawley are convincing and in the role of the grandmother Frances Downey shows that there is still love in Keane's world of gombeenism and mendacity. Michelle Fitzpatrick is suitably innocent and appealing as the tragic Sive while Eamon Flanagan gives a truly sincere performance as her young lover. The match made between Seán Dota, an aging bachelor anxious to wed, and Sive is used in this play to introduce the real characters of the piece. These are Seán Dota himself, Thomasheen Seán Rua and the tinker poets Pats Bocock and Carthalawn. It is easy to overplay these roles but in Lionel Gallagher, Liam Mc Kinney, Joe Meehan and Ronan Mc Dermott respectively, the author and the producer are well served. "Sive" is being performed in the Town Hall on Tuesdays and Thursdays until August 3rd starting at 8.30pm.
"Man For All Seasons" Continues This Weekendfrom The Sligo Champion, June 1978 Sligo Drama Circle opened its 1978 summer season with a vote of confidence in the Irish climate as well as in Sligo theatre-goers with an open air presentation of "A Man For All Seasons" by Robert Bolt, in the Retreat House Gardens on Sunday evening last. Despite the cold of the opening night, this was a splendid production in a fine setting. Entering the gardens from the Cathedral car park, the theatre goer found himself transported back to the sixteenth century with the colour, banners, pavilion and simple circular platform which might have been erected for an entertainment at Hampton Court.
A blast of appropriate music followed by a parade of the magnificently costumed players emphasised the illusion of Tudor times. The play itself, of course, was an excellent choice, catching all the conflict of the age of the English Reformation. By examining Thomas Moore's refusal to compromise, despite his loyalty to his monarch, and he pressure from those he loved, the play breaks beyond the confines of time and space to a universal stage.
The acting lived up to the play and the setting. Columb Mc Bride's performance as the "Common Man", representing most of us in times of conflict, was a tour-de-force. Paddy Dooney as Cardinal Woolsey gave a performance to be remembered, and equally impressive were Joan Fitzpatrick as Lady Alice Moore and Walter Mc Donagh as the Spanish Ambassador. The Drama Circle has a future in Martin Mc Dermottroe who played the demanding role of Henry VIII with great energy and verve. John Caheny played Richard Rich with just the right note of nastiness, and Cormac Sheridan gave solid support as the Duke of Norfolk.
Ita Mc Morrow, as Moore's daughter, and Manus Shields as her suitor, Roper, nicely counter-balanced their own situation with that of the wider one in which they were caught. Strong support came from Robert Burnside as Cromwell, Ann Mc Dermott as Catherine, Padraig Foran and Eamonn Flanagan. As Thomas More, Kieran Hickey underscored the early scenes so that he grew in stature as the story unfolded. Once again, director Liam Mc Kinney has proved that no play is too difficult or adventurous for him to tackle and anything he takes on adds to his reputation. The play was no exception. The play runs for three further nights - Thursday 22nd, Friday 23rd and Saturday 24th.
Impressions of a Student at Yeats Summer Schoolfrom The Sligo Champion, August 26th, 1977, by Angela Wyndham-Lewis I looked forward very much to seeing the two Yeats plays as they are an important feature of the Summer School. "Deirdre" and "The Cat and the Moon" were two contrasting plays in a double bill. "Deirdre" is an immensely difficult play to stage and to act. Part stylised, part realistic, part ritual and part drama. It contains elements of classical Greek drama in its chorus, and elements of Shakespeare in its noble verse. The theme has much in common with the fate of the other great lovers of legend and literature and Yeats used it to create a play where his search for perfection in his art is clearly visible. The part of Deirdre is a great challenge. One of the heroines of world history and legend she is as powerful in our imaginations as Helen of Troy or Cleopatra. Yeats compressed the story into one act telling of the trickery practised by Conchubar which led Naoise and Deirdre to their deaths.
The diction of the players was exemplary. The musicians as the chorus coped with the mixture of incantatory and colloquial styles, established the note of Yeats' "terrible mysterious things". Led by the fine speaking and singing of Joan Fitzpatrick with Ann Mc Dermott and Fiona Maguire, the chorus was quite impressive. The young Deirdre of Jane Fitzpatrick was no 'wild eagle', but a serious and beautiful queen, speaking her lines with true conviction and rhythmical expression. John Mullaney, relaxed and assured both in move and speech, gave Conchubar an authority and something of the stylised panache of the Player King in Hamlet. Walter Mc Donagh's direction opened a door to Yeats' world of myth and mystery.
"The Cat and the Moon" was I thought the most successful of the three plays I saw. Yeats, by using the poem as a framework for the legend of the blind beggar and the lame man visiting a well hoping to be cured, stressed the importance of the occult combined with myth and legend, to feed man's inner life. The play, part dance, part song, part speech, demand the use of masks. The giant grotesque faces designed by Catherine Mc Donagh were quite remarkable. Martin Mc Dermottroe and Brian Bohan as the blind man and the lame man gave a performance of delightful gusto. Again the chorus of musicians were exceptionally good, the costumes by Caroline Pilkington inspired, while the choreography by Mary Mc Donagh added much to the two Yeats productions. Walter Mc Donagh's production of "The Cat and the Moon" wove the two strands of the play into a moment of comical magic. The programme notes by Eileen Lambert added to our knowledge of Yeatsian drama. It is not surprising that Sligo Drama Circle has won awards in All-Ireland competitions. They are an outstandingly good company, one of which Sligo may justly be proud.
"The Black Stranger" by Gerard Healy - this production performed by the Sligo Drama Circle produces an effect of culture-shock on an overseas visitor. The Great Famine we know as an historical fact. I was first made aware of the appalling extent of the catastrophe by reading "The Great Hunger" by Cecil Woodham-Smith. Eileen Lambert's valuable and carefully researched programme notes related the tragedy to Sligo. This prepared us for the play and brought it into sharp focus. The strength of the play lies, in my view, in the strong emotional pull of history brought near to home. The strength of the performance lay in it being given by Sligo people re-enacting their own history. The actors gave the drama true feeling. The older members of the cast set a good dramatic pace, while the younger people put real vitality into their roles. I was particularly struck by the eergy of Tony Mc Niffe as Danny and the really moving performance of Brenda Barrett as Bridie. Ann Mc Dermott looked and acted well as the mother. The producer was Joe Meehan and I have been assured the Irish cottage of the period was authentic.
The Angels Please AdjudicatorPress Cutting, 1976 "The three angels tonight were a Godsend", said adjudicator Dan Treston at the Ballyshannon Drama Festival last night when "My Three Angels" was presented by the Sligo Drama Circle. Joseph, played by Paddy Dooney, was extra good, and he could find nothing to criticise in his performance. Robert Burnside as Jules was especially good in the tender moments and had played the "judge" without any extra make-up. Columb Mc Bride as "Alfred" had very good movements and style, he said. Peter Glynn as "Felix" tried to do too much. Dee Gallagher as "Emelie" had a nice sense of character but her make-up was slightly overdone. Mary Mc Manus as Mary-Louise should be more the pretty doll type waiting for love. Cormac Sheridan as "Gaston" was like an "operatic father" and had good attack and characterisation. John Caheny as "Paul" was not afraid to play the "drip". Theo and Lottie Bourke also played well. Production by Liam Mc Kinney was well worked out, the adjudicator added.
Sligo Drama Circle Opens Spring Seasonfrom The Sligo Champion, March 14th, 1975 It was a pleasure to hear an audience laughing and enjoying themselves the way they did at the opening performance of John B. Keane's "Many Young Men of Twenty" which is the first play of Sligo Drama Circle's Spring season. Producer Manus Shiels has succeeded in giving us a play of music, fun and just the right degree of seriousness to balance the evening's entertainment.
The setting is the back room in a rural pub in the 1950's. The story is of those who leave Ireland for a better life in London, a story often told yet the play is fresh and alive. Although there were a few rough spots, the sixteen characters were given such memorable portrayals by the cast it is hard to do justice to them all in a short space.
Michael Kilcoyne, whether singing or talking, as the ne'er-do-well, "Danger" Mullally, received great laughs. After the curtain call, when he stepped forward to make an announcement, the audience burst into applause. Catherine Clancy, as Peg Finerty the barmaid whose sad memories of lost love fade as Maurice Brown and Kevin Cably, played by Columb Mc Bride and Seamus Kennelly, compete for her, will be remembered mainly for her lovely singing voice.
Frankie Brannigan as Dinny departs for London at the end of the first act. His transformation upon returning (supposedly a year later) was so well done that the visual image started the audience laughing and the rest kept them laughing throughout the whole performance. His cockney wife Dot, played by Rena Meehan, is a perfect comic contrast to himself.
Another fine and funny character is the singing, fortune-telling Kitty Curley played by Sheila Horan in a way that fully explains the lyric, "I love pretty Kitty Curley, 'deed I do". She is accompanied on the accordion by Don Molloy who, with Claire Hunt on the piano, make the evening a musical success. Claire Hunt was responsible for musical direction.
Pádraig Foran and Mary Conlon are both very good as the hen-pecked brother-bartender Tom Hannigan and dominating sister Seelie. Other parts well played are the parents sending their children away; the staid Daheen Timineen Din (Rory Callagy) and Meynen (Mary Gilbride) whose catalogue of advice is something to hear; J.J. Houlihan, the manipulating T.D. (Joe Meehan) and his less than intelligent son (John Caheny)add more comedy. The two youngest emigrants Mickey (Barry Mc Kinney) and Mary (Kathleen Galligan) complete the cast. "Many Young Men of Twenty" continues its run on Tuesday next 18th May and on 20th and 22nd May.
Drama Circle Take All the Honours at Tubbercurryfrom The Sligo Champion, March 14th, 1975 Sligo Drama Circle swept the honours at the Tubbercurry Drama Festival with their production of Tennessee Williams' play "Cat on a Hot Tin Roof". The Sligo production won the premier award - the Canon Gildea Trophy - in the open competition for full-length plays. The Jim Wynne Cup for the best producer was awarded to Liam Mc Kinney; the award for the best actress of the week went to Maria Mc Dermottroe and the best actor of the week was Tony Wehrly.
The group, with its sights set on an All-Ireland title, travels to Claremorris and Ballyshannon as well as to festivals at Carrickmore, Co. Tyrone, and Scarriff, Co. Clare. Adjudicator at the Tubbercurry Festival, Mr. Scott Marshall, lavished high praise on the Sligo production at the closing of the drama week on Sunday night. Commenting on the set, he said it paid meticulous attention to detail, and this was what the theatre was all about - one hundred per cent effort. Paying tribute to the producer, Mr. Mc Kinney, the adjudicator said the production was full of imaginative touches and sustained effort. It was obvious that Mr. Mc Kinney had a deep knowledge and understanding of Williams' work.
Remarking on the performance of Maria Mc Dermottroe, Mr. Marshall said many actresses would attempt the part, but few ever achieved the reality of the role. Complimenting Tony Wehrly, Mr. Marshall said the most difficult art of the theatre was the "feeder" role, and Mr. Wehrly had achieved a splendid balance particularly in his scenes with Maggie and with the father. Mr. Wehrly had never lapsed for a moment, even though the role was a most difficult one.
Cormac Sheridan, who played "Big Daddy" was also praised. Mr. Marshall said when the actor came on stage one was reminded of Burl Ives, but Mr. Sheridan soon proved that he was able to develop in his own individual way the mammoth scale of the character. Dee Gallagher, who played "Big Mamma", was not the big imposing figure one associated with the part in a physical sense, but when she appeared on stage she immediately captured the part in every other way, taking control of the audience who were held breathless by her quieter scenes.
Margaret Monaghan, in the role of "Mae", in many ways produced the performance of the night, Mr. Marshall went on, and her every gesture illuminated the maternal nature of the character. The Sligo group was awarded 12 marks and now need only to win at one of the remaining festivals to qualify for the All-Ireland Finals. Sligo Drama Circle wone the national title in 1970 with its production of Tennessee Williams' "A Streetcar Named Desire", also directed by Mr. Liam Mc Kinney, who has twice won the All-Ireland Best Producer award.
Drama Circle's "Stephen D"from The Sligo Champion, August 23rd, 1974 (Specially Contributed) It is paradoxical that in Ireland where religion plays such a major part in our lives, one of the few, if not the only great religious novel, should deal with the rejection of faith. James Joyce's "A Portrait of the Artist as a Young Man" is a description of a religious experience and as such can be compared with some of the writings of Mauriac or Beronos. The "Portrait" is autobiographical and it is interesting to speculate about what would have been Joyce's reaction to the religious atmosphere of Ireland of the seventies. It is also interesting to compare the "Portrait" with the autobiography of another great writer who has a somewhat similar background and upbringing, Seán Ó Faoileán's "Vive Moi".
"Stephen D" was adapted by Hugh Leonard from the "Portrait" and from an earlier autobiographical novel "Stephen Hero". It was first presented in the Gate Theatre, Dublin in 1962 and was a great success. The play follows the novels closely and describes in an episodic form the hero's life from childhood, through school and university to his final rejection of his faith, his country and his family and his going into a lonely and bitter exile.
Sligo Drama Circle's production of "Stephen D" played in a starkly beautiful set by K. Cordall Grier, catches the turn of the century atmosphere and the religious and political conflicts of the characters excellently. The costumes are authentic and the complicated lighting plot is handled expertly by Jerry Taheny. Lionel Gallagher's direction is crisp and efficient. He handles his cast of almost thirty players with firmness and this discipline is rewarded by the smoothness and lack of fuss with which the various scenes follow one another.
Liam Mc Kinney's narrator-hero is a tour-de-force. He is onstage for the entire play and is in control of the character right through. His Stephen is in turn arrogant and vulnerable, cynical and sentimental. If one might find fault with his performance, it is that his narration is a shade too cynical. A little more irony and objectivity in his narration would help him establish better rapport with the audience and throw into relief the various moods and attitudes of the character.
Maureen Barry, as Mrs. Daedalus, after a somewhat nervous first-night start, played the character with great sympathy and understanding, while it was a pleasure to welcome Joe Burns back to the stage as Mr. Daedalus. One of the great set-pieces of the novel and the play is the sermon on Hell. Robert Burnside was exactly right for the part of the Preacher and he delivered the sermon with great sincerity. However, one would have liked a little more fire and brimstone from him.
It would be tedious to go through the long cast list praising each performance. All the minor characters were excellently cast and played with assurance and conviction. One must, however, mention two delightful vignettes - Nicholas Gallagher As Johnny Cashman and Mick Geelan as the Confessor. "Stephen D" continues in the Town Hall tonight and tomorrow night (Thursday and Friday) and on Tuesdays and Thursdays fore the next two weeks. Don't miss it.
Brilliant Success for Drama Circle: "Men Without Shadows" for All-Ireland FinalPress Cutting, 1974 After a brilliant run on the Festival circuit, Sligo Drama Circle returns to Sligo Town Hall with Sartre's "Men Without Shadows" on Saturday 27th April and Monday 29th April. On the following Wednesday, May 1st, the group will be on stage in Athlone in the All-Ireland finals for which "Men Without Shadows" qualified with the maximum possible number of marks. The group competed in four festivals and scored highly in all of them, culminating in in two brilliant first places in Ballyshannon and Claremorris.
It is hoped that the Sligo public will give them the best possible send off and encouragement in their task of bringing the famous Esso Trophy back to Sligo by packing the Town Hall on both nights. As should be clear from comments by adjudicators and the variety of awards won at festivals this season published below, a visit to the Town Hall on either Saturday or Monday should be most rewarding for Sligo Theatregoers.
What the critics said about "Men Without Shadows": Raymond Edwards (Adjudicator in Tubbercurry Festival) "There was a menace in the air from the start and the interest was maintained to the end. I was most impressed by the team-work of the company. It was a moving and intelligent performance. Mick Kilcoyne as 'Conors' was magnificent - he stopped acting and started being". Vincent Dowling (Roscommon Festival): "There was an exciting and expert production in movement, grouping and co-ordination. It may be a milestone in the amateur theatre". Liam mc Kinney won the Gold Medal for production. Sam Mc Creedy (Ballyshannon Adjudicator) "The impact of this play was so powerful that I had to keep reminding myself that I was the adjudicator. It was one of the most moving experiences I ever had in the theatre. The group as a whole are first-class team actors and it was an incredibly sound piece of acting. Manus Shields as 'Andrews' is an actor of great power, balance and control". Awards from Ballyshannon - Four Masters Perpetual Cup for First Place in Open Section, Sligo Drama Circle; John Stevens Cup for Best Producer, Liam Mc Kinney; Best Actress of Festival, Maria Mc Dermottroe as 'Lucy' in "Men Without Shadows". Miss Gerda Redlich (Claremorris Adjudicator) "A terrific play. The setting is ingenious, the lighting is beautifully handled as is the music which had magnificent timing. The filthy, dirty and blood-stained clothing is stark reality. All the actors understood that acting is being. This is as good as could be seen in Dublin or the West End of London." Listing the cast Miss Redlich had the following observations to make: John Caheny and Eddie O' Reilly (Soldiers) "I could not give enough praise to them"; Lionel Gallagher (Francis) "He lived every moment of his short life and died as excellently as he had lived"; Tony Wehrly (Roberts) "A very strong performance. He conveyed his self-torture most sincerely"; Mick Kilcoyne (Conors) "Very good"; Maria Mc Dermottroe (Lucy) "Marvellous and interesting. Her staring eyes will haunt my memory"; Columb Mc Bride (Henri) "Excellent throughout"; Barney O' Reilly (Shan) "Had qualities of leadership. Expressed his isolation splendidly"; Martin Doohan (Pellerin) and Manus Shields (Andrews) "They worked really well together"; Robert Burnside (Lockett) "A magnificent performance - in this role he was the personification of evil"; Production (Liam Mc Kinney) "Very fine and most sensitive". Awards - 1st Place in Open Section, Sligo Drama Circle; Best Actor of Festival, Robert Burnside as 'Lockett'.
Extracts from 'Sligo Champion': "Mc Kinney at his brilliant best ....... Involves and absorbs the audience to the maximum extent ...... an ingenious split-level set with multi-level compartments, the confined and caging effect of which heightens the tension throughout and helps to keep the audience on the edge of the seat".
Report from ClaremorrisPress Cutting, 1974 This year saw the clash of giants and with some giants still to take the arena, Gerda Redlich could well bemoan the fact that so many of the shows she had already seen were so scintillatingly good. "It is so sad", she said, "because only one of them can win". In the event it was Sligo - Liam Mc Kinney's production of "Men Without Shadows".
Carrick-on-Suir chose a comparatively less compelling vehicle in Bryan Mc Mahon's "The Honey Spike", albeit a worthy play. They distinguished themselves in a most impressive production and performance and in tieing in second place with such formidable contenders as Sligo Drama Circle and Dublin's 33 Players, these Munster and South Tipperary newcomers to the festival finals have every reason to be proud of their showing.
Sligo gave us a searing dose of Jean Paul Sartre, the High Priest of Existentialism. "Men Without Shadows" is a play with quite terrifying in its total lack of any vestige of regard or respect for the dignity of humankind. Implicit in it, I feel, is a denial of the Creator of humanity. There is much in it, of course, that offers some telling flashes of truth, but in its dominant message of despair, I found it a thoroughly repulsive and disgusting play. I could not but admire, for all that, the excellence of the production and performance and what was obviously the intense emotional involvement of producer and players in letting M. Sartre have his dismal say. Their right to let him be heard is too important to the integrity of amateur theatre, to be remotely at issue, nor, indeed can there be any question of the artistic efficiency with which they presented his message, but they and I will have to agree to differ on the merits of presenting it at all.
Drama Circle Second in All-Irelandfrom The Sligo Champion, May 24th, 1974 For the third time since 1970 when they won the Esso Supreme Trophy, Sligo Drama Circle were Runners-Up in the All-Ireland Drama Festival held in Athlone. "Men Without Shadows" by Jean Paul Sartre, this year's play, proved to be the most provocative of the ten day festival and if one is to judge by the amount of comment it generated immediately after its presentation and since, then it will be a long time before it is quite forgotten by the Athlone audience.
The subject matter of violence, begotten violence in the name of freedom and the consequent morass of mindless horror, futility and despair that such a chain leaves behind it, was explored in depth by the Sligo company and left no neutrals among the audience. They either hated it or were totally engrossed. Speaking immediately after the presentation, adjudicator Mr. Stanley Hildebrand, said, "Tonight we had a searing, painful experience in the theatre that we won't forget easily. We were made to feel uncomfortable in the extreme and that is what this play and this team meant us to feel. It was directed with thoroughness and artistry and it never faltered from its course for a second. It is not the sort of play that I like but that is a totally different matter. It is almost incredible how the director (Liam Mc Kinney) and the actors in this team took hold of us and held onto us so successfully for over two hours with this most difficult of play. They must earn very high marks indeed".
Speaking of the acting he said, "Lionel Gallagher gave a convincing portrayal of terror and despair. Mick Kilcoyne was an actor of immense resources of intensity and power which he used with tremendous effect. Tony Wehrly was an actor of great presence and voice. He had played the underlying cowardice and the soul-searching examination of himself with great sincerity and his final leap through through the window to his death was simply splendid".
Commenting on Columb Mc Bride's performance as "Henri", Mr. Hildebrand said: "This actor had most of Sartre circumlocuted arguments to deliver. It was a great tribute to the actor that he never lost our attention for a second and in his final moving moments utterly silenced us". Of Barney O' Reilly he said: "This player had the right qualities of leadership. He had a poetic quality that he found very pleasing and although the role fizzled out in the text the actor had overcome this".
The adjudicator said of Maria Mc Dermottroe: "When I read this play I feared very much that this role would defeat the best efforts of most actresses but this actress succeeded totally. She has a unique quality of voice that is just right for the part and she used it to the most telling effect. The change that had been worked in her by the brutality of her tortures was truly remarkable". Speaking of the military personnel in the play, Mr. Hildebrand said these parts had been splendidly played and contrasted. Manus Shields as "Andrew" had shown that he had a wide range of failings and developed them exceptionally well. Robert Burnside played the "pale-faced sadist" with extreme precision and control which was dead right, while Martin Doonan got across with great contrast to the other two "the near sighted cockiness of the character in a most realistic manner".
"Finally", he said, "I cannot let the night pass without saying how impressed I was by the playing of the two soldiers, John Caheny and Eddie O' Reilly. Overall this was a most difficult choice of play and had been given courageous, thorough and artistic treatment by a first class team".
Sligo Drama Circle's record since 1970 is : "A Streetcar Named Desire", overall winner in 1970; "Death of a Salesman" 2nd in 1971; 1972 "The Crucilble" 2nd.
Two in Race for Drama TrophyExtract from The Irish Press, by John Boland, May 3rd, 1974 A fair few hackles were raised on Wednesday night by Sligo Drama Circle's production of Sartre's "Men Without Shadows", with a number of people leaving the hall rather than continue to endure the psychological and physical brutality on the stage. Myself, I was hugely impressed, having gone along fearing the worst and then getting the best - Sartre's cynicism played down and his feeling played up. Set in a prison, the play concerns the relationship between captors and captives, the way in which one type almost needs the other to justify his chosen role, and the way in which, ultimately, both are victims. Its essential truths are applicable anywhere.
Producer Liam Mc Kinney (who also designed the excellent set), worked wonders with it. Adopting a perilously slow pace he justified its slowness with its depiction of the gradual, relentless beating down of the idealistic and the noble by the forces of darkness. As captives, Columb Mc Bride and Mick Kilcoyne, in particular, elicited immense sympathy, while Maria Mc Dermottroe as the girl, was quite splendid. One of those theatrical experiences which sharply divided an audience into those who were utterly absorbed and those who loathed it. I think I've conveyed which side I found myself on.
Spring Theatre Opens With A Bangfrom The Sligo Champion, March 1st, 1974 Sligo Drama Circle's first offering for the newly-opened Spring Season of Plays in the Town Hall, Sligo, is Jean Paul Sartre's "Men Without Shadows". And it certainly got the new season off with a flourish. We entered the theatre to find ourselves enmeshed in a prison atmosphere where the authorities were just as much "the men behind the wire" as their prisoners. From then until the end we were bombarded with power - power in the writing, power in the acting and, above all, power in the production.
Liam Mc Kinney, who directed, has cleverly taken Sartre's play out of its Second World War French setting and re-located it in any revolutionary situation at any time. It could be Chile or Cuba, it could be the Tuppermaros or the Provos, it could be about the Paras or the US Marines. But it told more tellingly than a thousand television newsreels the effect of the violence on both the capturer and the captured - indeed the conflict between those in authority is greater amongst themselves than is their clash with the rebels while the same situation holds in reverse for the revolutionaries.
There are some ironic, if violent, aspects of this brought out in the play as when one prisoner kills himself rather than talk to his inquisitors while another is killed by his own comrade because they feared that he would betray them. Thus are those in power and those in rebellion shown clearly to be the opposite sides of the same coin. This was Mc Kinney at his brilliant best - doing full justice to Sartre's magnificent creation. If there is to be any objections to his production, it is that it almost succeeds too well and involves and absorbs the audience to the maximum extent. He is also responsible for the set design which is an ingenious split set with multi-level compartments. The confined and caging effect from this heightens the tension throughout and helps to keep the audience on the edge of the seat.
This is a really strong cast - powerful is the word that keeps cropping into my mind. Maria Mc Dermottroe, the only female part, gives a performance of sheer power and beauty throughout. Sligo is indeed fortunate in having a young actress of her talent in its midst. Lionel Gallagher plays her brother with a rare intensity and integrity and his death scene is splendidly handled. As the other prisoners, Columb Mc Bride and Michael Kilcoyne display great strength and passion while newcomer Tony Wehrly almost steals the show in places from the older hands around him. To complete the "rebel" side Barney O' Reilly plays the revolutionary leader with the right mixture of authority and weakness and somehow manages to both belong to and yet remain apart from his cell-mates. But it is collectively that this group scores - a moving example of unity in diversity.
Manus Shields gives an outstanding performance as the Commander of the Post - a human being who has been brutalised by his job, tortured by his own torturing but unable to do anything about it. It is the best thing he has given us. Robert Burnside makes his debut in a Drama Circle role as the really sinister figure behind the campaign of brutality. He is the one person who seems to enjoy violence for its own sake, but despite this he succeeds in making us see the human being behind it all and we tend to hate the system which made him that way more than we hate him. This is a well thought out and (no pun intended) well-executed performance.
The third of the officer class is newcomer Martin Doohan whose role is that of highlighting the characters of Andrews (Manus Shields) and Locket (Robert Burnside). In this he succeeds admirably and at the same time he never loses his individual identity. John Caheny and Eddie O' Reilly are terrifyingly realistic in their roles as the Para-type soldiers. They could have stepped directly from our televisions screens from the latest riot situation in the latest trouble spot. If this seems to be in the nature of a eulogy and an exercise in the use of superlatives, don't just believe me - go and see for yourself before the week is out. And while you are there think of the backstage workers - Joan Gallagher's costumes, Aidan Sexton's lighting, John Mc Gettrick's sets, John Burns and Jimmy Barr's sounds, Anne Johnston's stage management, and you will see that it adds up to an exciting night's theatre.
First-Class Performance by Drama Circlefrom The Sligo Champion, July 27th, 1973 Those who saw "Arms and the Man" as presented by Sligo Drama Circle in the current production at the Town Hall will agree with me when I state that Shaw's famous comedy has improved with age and it is just as popular and pertinent today as when it was first staged in 1894. In this, their second offering of Summer Season Seventy Three, the Drama Circle maintains its current peak with this delightfully light-footed, comical production by Joe Meehan. After a slightly uncertain opening (I saw it on its first night) the company settled down to give a first rate rendering of this excellent play. As had been promised, the costumes were most colourful and the setting and lighting up to a standard we now automatically demand from this group.
As "Raina", Eily Kilgannon gave a performance to equal anything we have seen from this fine actress in the past. At the coffee break a lady told me she had seen Eily as "Candida" in he Shaw play of that name last season and had driven fifty miles to see the Circle play Shaw again. As the mother, "Catherine Petkoff", Denise Ryan proved to be another "discovery" for the Drama Circle. I have already commented on the performance by a newcomer, Margaret Monaghan, in "The Country Boy" and I am reliably informed that yet another star in the making is emerging in the person of Pam Donaghy in rehearsals of "Step-in-the-Hollow", so that it looks as if the established actresses are in for some stiff competition in the future. Maureen Gallagher played "Louka", the tempestuous Bulgarian servant, with just the right amount of verve and intensity, while Bernard O' Grady was a believable Russian officer.
Joe Meehan was a nice contrast to "Louka" as her fellow servant, "Nicola". As "Major Sergius Saranoff", Michael Conlon gave promise of excellence to come when he fully settles into the role. As it was, he grew in stature and authority as the night went on. And what a splendid actor Walter Mc Donagh is. He simply revelled in the part of Major Petkoff, and the audience revelled with him. David Johnston has given us many good performances in the past. One thinks of "Bernard" in "Death of a Salesman" and, more especially, the young boy from "Lovers", but his performance as "The Chocolate Soldier" is the best thing he has ever given us. His portrayal of the Swiss mercenary was masterly and his final scene was a triumph. This was a superlative performance from a brilliant young actor. "Arms and the Man" continues on Thursday 26th July and closes on Thursday August 2nd.
Last Night of "The Country Boy"from The Sligo Champion, July 13th, 1973 Tonight (Thursday July 12th) brings down the curtain on what has been probably Sligo Drama Circle's most successful opening summer play to date. "The Country Boy" has been playing to increasingly large houses since Brian Friel opened Summer Season Seventy Three on June 26th, and while it is almost certain to return to the Town Hall in August, "The Country Boy", despite the present demand, must now step down to make way for "Arms and the Man" by George Bernard Shaw which opens on Tuesday, July 17th, and runs each Tuesday and Thursday until August 2nd. "The Country Boy" by John Murphy, has proved most popular with visitors and local theatregoers alike. The mixture of comedy and pathos is ideal entertainment for a holiday audience.
This production by Padraig Foran has already brought offers to the Circle to bring the play to the Cork Opera House, to the Ballina Moy Festival and the Manorhamilton Wild Rose Festival. With its commitments to Sligo audiences it may not be possible for the Drama Circle to fulfil all these engagements but it is most encouraging for them to know that they are appreciated outside of Sligo.
The acting in this play is well up to the best Drama Circle tradition. Eddie Watson makes a triumphant return to the Sligo stage as Tom Maher, the classical father-figure of Irish drama - hard outside and soft beneath the crust. His timing of the comedy lines is mastery. As Tom's wife, Mary Kate, Mary Mc Govern brings a thoughtful stillness to the role that admirably highlights her husband's blustering ways. Michael Kilcoyne brings to "Curley" all the pent-up frustration of the young man growing to slow maturity on a West of Ireland farm. This was a most believable performance. Sheila Horan, as his girlfriend "Eileen", takes a further step along the road towards becoming one of the Circle's leading actresses. We look forward to seeing her as Teasie in Donagh Mc Donagh's hilarious "Step-in-the-Hollow" later in the season.
Liam Mc Kinney, as "Eddie", the country boy who can't shake off the past whether in the form of the Mayo landscape or his former girlfriend, despite fifteen years in New York, shows that he is no less able an actor than he is a director, and Sligo audiences do not need to be reminded of Liam's abilities in that direction. But to me the greatest "find" the Drama Circle has produced for a long time is Margaret Monaghan, who plays "Julia", Eddie's American wife. This performance is worth going a long way to see and it is almost incredible that this is Margaret's first season with the Drama Circle. She can be brash and tender, strong and yielding, dominating and forgiving. It is a beautiful performance. So if you have not seen "The Country Boy" hurry to the Town Hall tonight (Thursday) at 8.30. It is a show not to be missed.
Next week sees another comedy, but a very contrasting one when the Circle mounts Joe Meehan's production of "Arms and the Man". On Tuesday, July 17th the gala opening is in aid of the Friary Building Fund. Some people still have the impression that Shaw's work is "heavy", but we can assure you that "Arms and the Man" lives up to its designation as a "comedy". Those who saw Joe Meehan's direction of Brian Friel's "Philadelphia, Here I Come" last season will certainly return to see this production of "Arms and the Man".
Sligo Group's Dual Successfrom The Sligo Champion, March 17th, 1972 A well merited dual success was scored by the Sligo Drama Circle at the Festival when they won the premier award, the Canon Gildea Trophy in the open three-act section for their presentation of "The Crucible", the classic of the American theatre by Arthur Miller, and also took the Committee's Silver Cup in the open section for one-act plays for their production of "The Pot of Broth" by W.B. Yeats. And the producers of both plays, Liam Mc Kinney who was responsible for "The Crucible", and Seán O' Reilly, who produced "The Pot of Broth, figured in the list of those who received silver medals for production. The adjudicator, Miss Nora Lever, of Dublin, heaped praise heavily on the Sligo Drama Circle, commenting that in the 29 years history of the festival she doubted if there had ever been staged a play of such professional excellence by an amateur group as "The Crucible" in which she was unable to single out any one individual member of the cast of 21 for special mention, the all round playing was of such a sound, even and high standard level. Referring to "The Pot of Both" she said that in her career she had never seen a better presentation, either amateur or professional, of this well known Yeats play.
Passion Play Opens in Sligo's Dominican Churchfrom The Sligo Champion, by A Special Representative, April 2nd, 1971 "The Man born to be King" received a tremendous first night reception from a capacity audience at Sligo's Holy Cross Priory last night when the play depicting the Passion, Death and Resurrection of Jesus Christ began a week-long run. The production not alone marks the end of an era so far as the Dominican Order in Sligo is concerned, but it is the first time a play of its kind was staged in the town and it is a remarkable indication of the affection and esteem with which the Dominican Fathers are regarded by the people of Sligo.
It is a production of historical significance, mainly because when the play ends its run, the 126-years old church in which it is being presented will be demolished to make way for an ultra-modern building. The Friary, as it is known to all, will no longer be a feature of the Sligo skyline and it is entirely appropriate that the play, in all its splendour and impact, should serve to express Sligo's deep and abiding gratitude to the Dominicans who have an unbroken association with the town going back to 1252.
"The Man Born to be King" was written by Dorothy L. Sayers and was originally presented by the BBC thirty years ago in a cycle of twelve playlets. Three of these are incorporated in the Sligo production which re-enacts "Royal Progress" - from Gallilee to Bethany and on to Jerusalem; "King of Sorrows" - the road to Calvary and the Way of the Cross; and "The King Comes to his Own" - the resurrection of Our Lord.
It is a tremendously realistic and emotional experience for the audience, captivated as they are by the awe-inspiring and magnificent visual effect. Technically superb, it is a masterpiece of re-creating, capturing the intense human drama of the epoch it so brilliantly portrays. One of the most striking features of the presentation is the intimacy struck between the audience and the players. This is achieved by the use of a specially constructed Split-level open stage which, by its very simplicity, brings a new dimension to audience participation.
The absence of scenery might have caused some apprehension - the sheer magnitude of stage setting can be readily appreciated, but the splendour and the authenticity of the costumery create sufficient Biblical atmosphere to make the overall spectacle a remarkable and technical achievement. Another reason why this splendid production will be remembered in the history of Sligo theatre is the moving and majestic contribution of the specially augmented choir creating a spiritual presence and giving an ethereal quality to the events being presented on stage.
One of the major successes of the production is the strikingly effective lighting. Here again, the producers were faced with problems of a most difficult technical nature but they were surmounted with efficiency and dexterity. All through, the lighting blends with the mood of the play and its subtle use gives a sense of time and place far more effectively than stage setting.
"The Man Born to be King" is a personal triumph for both Walter Mc Donagh, the producer and Liam Canning, his right hand man and lighting supervisor. They were more than equal to the magnitude of their task and while many others in the production team provided expert assistance in various ways, the overall credit must go where it is due and where it is thoroughly deserved. Their achievement will be long remembered and talked about in drama circles not alone in Sligo but throughout the North-West. It is fitting that the immense amount of hard work they put into the project should be rewarded by a highly successful opening night and exceptionally heavy bookings for the rest of the week.
Incidentally, all those who intend to see the play would be well advised to book their seats immediately because it is expected that tickets will be at a premium for next week's performances. Bringing together as it does, a cast of over one hundred people, "The Man Born to be King" is the most ambitious dramatic presentation ever undertaken locally. The tremendous enthusiasm which the play has generated in the area is reflected in the fact that many people with no previous stage experience were among the first to volunteer for parts. Major roles are filled mainly by actors of wide and proven experience, but several newcomers to the drama world give sparkling performances. Special mention must be made of leading artistes such as Tom Mullaney (Jesus Christ), Mary Watson (Virgin Mary), Joan Fitzpatrick (Mary Magdalene), Geoffrey Rose (John), Eddie Fitzpatrick (Judas), Eddie Watson (Caiphas) and John Mullaney (Pilate). Naturally, it would not be possible to mention individual performances and contributions - suffice to say that each and every member of the entire production, sound, wardrobe, make-up, backstage etc. played a vital part in this success. "The Man Born to be King" is a profoundly emotional experience: it must not be missed.
The Holy Cross Newsletter in an article entitled "The Church and Drama" last Sunday stated: "At first sight there might appear to be an uneasy partnership between the Church and drama. Some people find it strange that a Church building should be chosen for the staging of a dramatic work. Even leaving aside the fact that the Friary Church is going to be demolished soon, it is not as unseemly as people may imagine. The European theatre as we know it goes back in its origin to a liturgical beginning. In the tenth century the practice developed in France and later in England of re-enacting a scene from the Gospels on Easter morning. Three people, representing the three Marys, would come to the altar of the church and ask a fourth, an angel dressed in white, where Our Lord's body was. They would be told 'He is not here, He is risen as He said'.
This practice later developed into the mystery plays which were such a feature of Medieval life in France, Holland and England. They were known in Ireland too, in Dublina and Kilkenny. Various scenes were chosen from Scripture by the local guilds (carpenters, dyers, weavers etc.) and each group presented its own play in the open air at street corners on a moveable stage. Thus on feast days like Corpus Christi, the whole story of Redemption would be played out before the townspeople. It must have been a very effective means of teaching Christian doctrine. Shakespeare was influenced by this folk drama movement. To put on a play in Church, therefore, as we are doing from next Wednesday in Holy Cross, is not such a novel idea after all. It may help us to see that there is a very close relationship between liturgy and drama, and when we read the teaching of the Vatican Council we cannot escape the dramatic possibilities of the Christian liturgies. Already, since we moved the temporary altar onto the stage, there has been a heightened awareness among the people at mass. Surely there is room here for experimentation!
Death of a Salesmanfrom The Sligo Champion, March 5th, 1971 Sligo Drama Circle Producer, Liam Mc Kinney, has reason to be optimistic if he hopes to retain the Esso Trophy, the All-Ireland Premier Drama Award, this year. Last season, the town was taken by storm with "A Streetcar Named Desire" but "Death of a Salesman" which was staged in the Town Hall, Sligo, last weekend has made an even greater impact. When Mr. Joe Meehan of the Drama Circle spoke at the conclusion of the three night run on Saturday night, he referred to the revival of interest in drama in Sligo, adding that audiences had been the best for ten years.
Mc Kinney must take a fair share of the credit for this success because he has injected a new life into amateur drama with a concept which is entirely his own. And the audience reaction to "Death of a Salesman" indicates that he is giving the public what they want - plays of substance. Arthur Miller's Pulitzer Prize-Winner is such a play. It is life as it is lived as it was lived in America thirty years ago and as it is now. Perhaps it is no great credit to humanity that the rat race or the "jungle" holds no place for an idealist but there again, reality must be looked in the eye. To opt out is to admit defeat.
Shane Cleary is the Salesman and, in fact, it is he who sells the production. His performance was simply masterful, his best ever by far, and he captivated the attendance and held them spellbound throughout. Cormac Sheridan, the unsettled ex-superstar dropout, Biff, gave a memorable performance of a difficult part which demanded all his experience as an actor while Eily Kilgannon as Salesman's wife, portrayed sincerity, feeling and emotion like a veteran of the stage. Newcomers, Brian Mc Hugh as Happy and David Johnston as Bernard will be heard of more in the future and Charley, played by Lionel Gallagher, was another who really got on top of his part.
Space does not afford a mention for all but special tribute must be made to those in charge of lighting, sound effects, set and stage. Perhaps the only thing which takes from the production, and many will agree, is the liberal use of invective. Incidentally, those who did not get to see the play really missed out and they should keep an eye out for the repeat performances later in the season.
The cast was Willy Loman - Shane Cleary; Linda - Eily Kilgannon; Biff - Cormac Sheridan; Happy - Brian Mc Hugh; Bernard - Davis Johnston; The Woman - Maureen Gallagher; Uncle Ben - Manus Shields; Howard Wagner - Eddie Tighe; Jenny - Catherine Clancy; Stanley - Cormac Molloy; Miss Forsythe - Dee O' Connor; Letta - Corina Gilbride; Waiter - Seán Scanlon; Extras - Sheila Horan, Seán Foley. Stage Assistants - Geoff Rose, Liam Nulty; Tape Editors - Shane Cleary and Liam Mc Kinney; Sound - Frank Brannigan and Seán Foley; Sets - Aidan Sexton and Liam Mc Kinney; Design - Liam Mc Kinney; Stage Management - Seán Scanlon, Marion Reidy, Una Lappin; Lighting - Aidan Sexton and John Mc Gettrick.
Drama Circle's "Streetcar" Was Simply Superbfrom The Sligo Champion, February 27th 1970 Sligo Drama Circle must be hotly tipped for festival honours again this season because their presentation of "A Streetcar Named Desire" by Tennessee Williams, seen by capacity audiences in Sligo Town Hall on four nights last week, was simply superb. It was the most realistic and captivating production to come before the Sligo theatre fans in quite some time and the Drama Circle deserve their every aim fulfilled for the obvious hard work and effort which makes this play pulsate with life. Characterisation and technique were almost flawless. Dee O' Connor, as Blanche, was so completely at home on the stage that one could hardly believe this was her first role while Shane Cleary (Stanley) gave a top class performance. Joan Fitzpatrick, as Stella, gave another of her consistently excellent interpretations.
Director, Liam Mc Kinney, must get the lion's share of the credit, however. He has gathered around him a great team, not only on stage but in backstage departments such as set, light and effects, and he has brought out the very best in every individual aspect to make the overall production a masterful one. The cast was as follows: Dee O' Connor (Blanche), Joan Fitzpatrick (Stella), Shane Cleary (Stanley), Cormac Sheridan (Mitch), Eily Kilgannon (Eunice), Brian Bohan (Steve), Padraig Foran (Pablo), Maura Doherty (Negro Woman), Robert Folan (Doctor), Irene Conlon (Nurse), Lionel Gallagher (Young Man), Maura Nangle (Mexican Woman). Extras: Carol Kelly, Seán Gallagher, Corina Gilbride, Frank Brannigan, Mary Harrison, Seán Foley, Margaret Mc Nulty, Liam Rooney, Seán Scanlon.
Stage assistants: Betty Keogh, Frank Brannigan, M. Mc Donagh, Imelda Mulligan, Margaret Mc Nulty. Settings: Seán Gallagher, Aidan Sexton, Joe Burns, Liam Costello, Walter Mc Donagh. Design and Programme: Liam Mc Kinney. Sound Effects: Seán Tighe. Special Effects: Seán Breslin. Tape: Liam Canning. Lighting: Aidan Sexton, Ray Caulfield. Assistant Stage Managers: Carol Kelly and Una Lappin. Stage Manager: Marion Reidy.
Major Award For Sligo Group At All-Ireland Festivalfrom The Sligo Champion, May 2nd, 1969 Sligo Drama Circle gained a notable success at the All-Ireland Drama Festival at Athlone when Walter Mc Donagh's production of "Purgatory" (W. B. Yeats) took the major award in the one-act section. The two characters were played by Lionel Gallagher, The Boy, and Eddie Fitzpatrick, The Old Man. The play also won the production award. It was the second success in the one-act section at Athlone for Mr. Mc Donagh.
"A thoroughly satisfying achievement" commented the adjudicator, Mr. Adrian Rendle, on the presentation by the Drama Circle of Tennessee Williams' "The Glass Menagerie" at the Festival. Mr. Rendle said that visually it was a wonderful production of "dream quality". Imelda Walsh as Laura had the trickiest part in the whole gamut of Williams but she played it with great sensitivity. Whilst Shane Cleary as Tom gave a sterling performance, he felt he was too vitriolic against himself instead of against the atmosphere created by his mother.
The part of Amanda by Joan Fitzpatrick was excellently conceived but he thought she was a bit young for the part. The music, he said, was very well integrated in the production. He added that Eddie Fitzpatrick gave an outstandingly tender and sensitive performance of the part of Jim. The performance did not feature in the awards.
Drama Circle For Athlonefrom The Sligo Champion, March 28th, 1969 Sligo Drama Circle have swept the boards from three out of four drama festivals with their production of Tennessee Williams' "The Glass Menagerie" and with premier awards from Tubbercurry, Cavan and Ballyshannon, their nomination to the Athlone festival has been secured with more points than is necessary. It will be the first time in six years for the Sligo group to appear at the All-Ireland Festival in Athlone (April 17th-27th) although at one time their nomination was practically an annual affair. Up to 1963 their record at the Athlone festival was as follows - "Thy Dear Father" 2nd; "The Money Doesn't Matter" 3rd; "God's Gentry" 2nd; "Montserrat" withdrawn due to sickness of the cast; "To Live in Peace" 5th; "My Three Angels" 2nd; and "The Curious Savage" 3rd.
This year might give the Drama Circle their first All-Ireland award because adjudicators at Tubbercurry, Cavan and Ballyshannon were wildly enthusiastic about their drama. After a "talk of the town" run at Sligo's Gillooly Hall, the group made their first competitive appearance at Cavan where they took the premier award, the Bishop Lyons Cup, as well as the trophy for the best stage setting, the Fr. John Brady Cup. And commenting on the production, the adjudicator said he had never before seen the technique used by the producer, Mr. Liam Mc Kinney, whose interpretation of the drama was such that it gave the impression that he knew Mr. Williams personally. The adjudicator also remarked that it was very pleasing to see an amateur company bite off such a big challenge for themselves and bring international plays to Irish audiences.
The winning of the Canon Gildea award for the premier production at Tubbercurry marked the first such success for the Drama Circle at the Western Drama Festival. The Sligo group also took the J.J. Henry Cup for the most imaginative production while Shane Cleary, a member of the cast, received a silver medal for acting. Speaking at the festival after watching the production, the adjudicator, Miss Gerda Redlich, said it was a lovely play and "many candles of productive and acting skill have been lit in its honour". The group had kept the audience completely spellbound with their extremely interesting and artistic scenery, their very superb lighting, their wonderful costumes and the delightful treatment of the dialogue.
Miss Redlich said it took a very scientific fingertip touch to bring the play to life and that was what the Sligo group had done. She said the play was very well cast and Joan Fitzpatrick, playing the part of Amanda, the mother, had the character to perfection while Jim, Eddie Fitzpatrick, played the part exactly as the author wished it to be played. Imelda Walsh, as Laura, performed her very fragile part with great delicacy. The whole play took place in the memory of Tom, Shane Cleary, and some of his memories were clear while others were rather dim. This came across perfectly.
Roscommon Drama Festival was somewhat of an anti-climax for the Circle took third place although Mr. Liam Canning won the award for lighting but last weekend at Ballyshannon, the Drama Circle were very much in the awards, taking the Four Masters Cup, the blue riband of the festival, as well as the cup and medal for the production. It was at Ballyshannon that, perhaps, the greatest achievement of the group was recognised for among the cast of four, Imelda Walsh, playing her first ever part on the stage, was awarded the gold medal for the best actress of the festival. At Tubbercurry, too, Miss Walsh was mentioned specially by the adjudicator who said she was an actress who would go far.
Mr. Christopher Fits-Simon, who adjudicated at Ballyshannon, said of the Circle's performance that it was a night for superlatives and there was no need to add to that. He had seen the play performed by a professional group but Sligo Drama Circle's production was a more satisfying show. In the final analysis, he would not attempt to name any of the players because it would be an injustice to their team work. And it has been the team work and the and understanding of the cast and backstage team which has been responsible for the tremendous success of the Drama Circle and through producer, Liam Mc Kinney, is undoubtedly the inspiring figure in the group. He, himself, has paid glowing tribute to his behind-the-scenes workers, particularly, Miss Marion Reidy; Mr. Aidan Sexton, sound; and Mr. Liam Canning, lighting.
Next Saturday, Sligo Drama Circle travel to Carrickmore, Co. Tyrone hoping to emulate their success of two years ago when they received a nomination to Belfast for their production of "The Playboy of the Western World". That year, they went on to win the Northern Ireland title with "The Playboy". Athlone next month will, however, be their biggest hope because it must be the only prize in Ireland which the group has yet to win. And success in Athlone, or in Belfast if Sligo are nominated, will carry the further attraction that the top two groups will go forward to compete with the top two British and leading Continental group at a special competition in conjunction with the Dundalk Maytime Festival.
The Drama Circle's remarkable run has been closely followed by all drama enthusiasts in Sligo and for those who did not have the opportunity of seeing "The Glass Menagerie" for themselves, special repeat performances will be given in Sligo during the week after the annual Feiseanna. Incidentally, every support should be given to these performances because finances are essential to keep the group on the road.
Won Premier Award at Ulster Festivalfrom The Sligo Champion, May 26th, 1967 The Sligo Drama Circle, presenting "The Playboy of the Western World" (J.M. Synge), swept the boards at the Ulster Drama Festival in the Grand Opera House, Belfast, on Saturday night last when they were awarded the Grand Opera House Perpetual Challenge Cup, taking the trophy to the 26 counties for the first time ever, and the Friers Cup for decor. The play was produced by Mr. Walter Mc Donagh, Bonne Chere Restaurant, High St., Sligo and the set was designed by Rev. Bro. Columban, of the Marist Order, Castlerea, and formerly of Sligo.
The members of the cast were - Eddie Fitzpatrick, Eddie Mc Dermottroe, George Molloy, Pat Kilgannon, Joan Fitzpatrick, Seán O' Reilly, Liam Mc Kinney, Ray Cawley, Ann Laffey, Ruth Crampton, Imelda Mulligan, Eily Kilgannon, Freddie Chrystal, Lionel Gallagher and Joe Meehan. Lighting was by Liam Canning and Rory Callagy, while Messrs. Callagy and Meehan were also responsible for stage management.
In addition to the two trophies, the Circle were also awarded the Association of Ulster Drama Festivals Certificate of Merit for decor and also the A.U.D.F. plaque. The adjudicator, Mr. Stanley Hildebrandt, a member of the Guild of Drama Adjudicators, said the play itself was a poem and a work of genius. It would take its place amongst the classics of all time and still be accepted in the theatre of the future. Like all great plays, it would come across to an audience no matter at what level it was performed but to do it any kind of justice a great performance was required. The setting was inspired in its simplicity and evoked the right atmosphere for the play. The details looked right and were most effective. It seemed to have been built for a smaller stage but like all good sets it had little difficulty in adjusting to the wider spaces of the Opera House. The lighting complimented the setting. It was not easy to light this play correctly but he thought it just right. Costumes and make-up were fine, every character looking exactly like what they were supposed to represent - they seemed to have the right background.
Production by Walter Mc Donagh was most sensitive. He made the grouping look easy but anyone who the play would realise how difficult this could be. He was pleased to observe that the producer had used his own favourite device - a door in the centre of the back wall. This was really difficult to handle but if used correctly could lead to some wonderful effects and this producer knew how to use it to the maximum advantage. The pace was very interesting - slow and deliberate at the start as the players got the feel of the audience. He was a little worried as the same pace continued throughout the act but there was a great build up in the second act leading to a marvellous crescendo in the final act. The overall production was in harmony with the construction and mood of the play.
Eddie Fitzpatrick as the Playboy convinced him, probably for the first time that "Christy" was a real character. This was a delightfully thoughtful performance, the actor feeling himself small in act one and growing inwardly in size and strength until his full development in the end. "Old Mahon" played by Eddie Mc Dermottroe, had a dynamic approach to the part which, with the aid of his magnificent voice, made him accept this character completely even though his physique was so much in contrast to that of his son the "Playboy". He was very pleased with George Molloy as "Michael James". This actor spoke his lines so well that he did not lose a single word and he also gave a very sensitive pointing to his lines. Pat Kilgannon as "Pegeen" had everything for the part - looks, voice, hair and an untamed quality which belonged to the background of the play. One never had the feeling that "Marks and Spencers" was just around the corner as one so often did with other Pegeens.
The "Widow Quinn" as portrayed by Joan Fitzpatrick gave an interpretation of the part which was new to him but he now realised that she was a genuine competitor for Christy. He particularly liked he when she was accepting that she would not succeed in winning Christy from Pegeen. Shawn Keogh, played by Seán O' Reilly, he found hard to accept at first as he was so big that he could scarcely believe that he would not accomplish something, somewhere, sometimes, but as the play went on he fully accepted this character and the interpretation given to the part worked completely. Liam Mc Kinney and Ray Cawley were excellent as the two farmers, Philly Cullen and Jimmy Farrell. They looked exactly right, their make-up and costuming being particularly good. They gave very authentic performances. The four girls Eily Kilgannon, Ruth Crampton, Imelda Mulligan and Anne Laffey had the right quality of naiveté and sense of wonder for the parts. Here were four lovely performances.
If there was any fault to be found in the performance it was that some of the cast from time to time seemed to forget the vast size of the theatre and failed to project sufficiently. But, overall, the treatment that such a great play deserved was given and they were grateful to Sligo Drama Circle for having done so.
On their return to Sligo on Sunday night the members of the Circle were given a civic welcome and reception by the Mayor, Mr. Sidney Gallagher, at the Sligo Town Hall, where they were also greeted with music played by Our Lady of Lourdes Boys' Club Band, Sligo, under its trainer and conductor Mr. Joe Burns. The Mayor said it was a great honour for him to welcome the members of the Drama Circle and to congratulate them on their wonderful achievement in winning the Ulster Drama Festival award. One must admire the great voluntary effort which had been put into amateur drama in Sligo and he was aware that many evenings and even days had been set aside for rehearsal. He hoped that the day was not far off when they would have a Municipal theatre in Sligo.
Mr. Eddie Fitzpatrick, Chairman of the Circle, returning thanks, said they were all very proud of having brought the trophy to Sligo. When he delivered the letter of greetings from the Mayor of Sligo to the Lord Mayor of Belfast , said Mr. Fitzpatrick, he was very pleased to receive it and said he hoped to visit Sligo in the near future. The fact that they had taken the trophy across the border for the first time was not really significant because back in 1937 a similar achievement was attained by Sligo Unknown Players who brought back another trophy from another Festival in Belfast. In thanking the Mayor for his magnificent welcome, Mr. Fitzpatrick also thanked the Boys' Band for their attendance.
Summer Theatre Was Successful Experimentfrom The Sligo Champion, by P. Mac M., September 3rd, 1965 Summer theatre came to Sligo for the first time ever when, for three nights, in the Town Hall there was a Sligo group production of J. M. Synge's classic "The Playboy of the Western World". Even though the presentation was held in connection with the sixth annual Yeats International Summer School, the staging of a play by an all local, all-amateur group in the month of August was a bold and ambitious experiment. However, it paid off most handsomely and there were large and appreciative audiences for each night of the run. As deputy for our regular drama critic who is absent at the moment on holidays, I attended the play on Saturday night and came away feeling very well satisfied with the entire production.
A feature of the performance was, I thought, the general, all-round level of acting. This was quite obviously a well-balanced team. Unlike what happens in so many amateur shows of this kind, there were no starring handful giving exceptionally good performances, but then having these backgrounded by below par performances by other members of the cast. This was a group of players who were consistent and in their consistency they were good. It is quite true, of course, that some more than others may have captured the true feeling for these unique Synge characters and as a result turned in performances that rang with a greater sincerity. But judging the production in its completeness it was undoubtedly a success and one very well worthy of Sligo.
I feel that this was a team which deserves congratulations for their dedication to the amateur theatre. Few people, other than the real enthusiasts, would care to devote their time during the bright, if rather wintry, summer evenings of the past few months for the presentation of a play. Yet it was apparent from the finished product that rehearsals must have been well attended and arduous and that those taking part were inspired by the ambition to present a good show. This sacrifice of time involved by the members of the cast, at a time of year when most people's interests lie out of doors is, I think, worthy of praise and it is indeed heartening that Sligo has such a band of players who are prepared to submerge their own individual interests for the benefit of giving visitors an opportunity of seeing for themselves another phase of Sligo people's pursuits in the cultural field. But despite these thoughts on the backround to the production, it must be admitted that "the play's the thing" and so it is pleasurable to report that the time and effort involved was very well worth while and that the presentation rates as such a fine achievement.
Walter Mc Donagh, who produced and directed "The Playboy" can feel a considerable sense of high attainment on the success of his work. Served by an experienced, loyal cast, he was responsible for moulding them into a group who gave a very interesting and faithful interpretation to this outstanding play. The play is, of course, dominated by the "Playboy" himself and Eddie Fitzpatrick was excellent as Christy Mahon. Playing opposite him as Pegeen Mike, Monica Toher turned in a fine performance. Seán O' Reilly's playing of Shawn Keogh was a well-polished cameo, while Joan Fitzpatrick was a forthright Widow Quinn. Eddie Mac Dermottroe gave a robust performance as Old Mahon and Michael Gunning was very sound in his role as Michael James Flaherty. The other parts were all very well done by Liam Mc Kinney, Ray Cawley, Dolores Carr, Ruth Crampton, Marie Flood, while the supporting players included Freddie Chrystal, Eily Kilgannon, Dolores Mc Rory, Joseph Meehan, Tommy Fallon and Val Dolan.
The setting was magnificent. Designed and constructed by Reverend Brother Columban, it captured the locale of the plot and provided just the right atmosphere. Lighting too was very good and it was in the hands of Tommy Fallon. make-up was by Marie Flood; hairstyles by Ruth Crampton; costume supervision by Monica Toher and stage management by Eily Kilgannon, Liam Mc Kinney and Freddie Chrystal. The most informative programme was the work of Eileen Lambert.
Speaking after the performance on Saturday night, Mr. F. J. Wynne, President of the Yeats Society, returned the Society's thanks to Mr. Walter Mc Donagh and that talented Sligo group and complimented and congratulated them on the magnificent and thrilling performance. The production equalled, if not excelled, the best professional performance of "The Playboy", said Mr. Wynne. That night's entertainment must surely rank very high among the various items provided for the pleasure and enjoyment of professors, lecturers and students from many parts of the world who were gathered in Sligo for the Yeats school.
"I think", went on Mr. Wynne, "it would be correct to say that "The Playboy" was never performed before so large an international audience as we have here tonight. I am sure I can say on their behalf that they have thoroughly enjoyed themselves and the tremendous ovation you have given the players is ample evidence of this. I was instructed not to mention any of the players individually. Even if I was inclined to do so I would find it extremely difficult to pick out any particular actor or actress - they were all excellent in their respective roles. I must, however, specially mention Walter Mc Donagh, the brilliant producer; Monica Toher, who, apart from her acting, agreed at the request of the Yeats Society to get together this group, and Rev. Brother Columban, who was responsible for this superb stage setting".
"Shadow and Substance"from The Sligo Champion, by A. J. Cooper, April 25th, 1964 Every play worthy of the name has a theme, whether it is the simple portrayal of historical events and the interaction of motives of those involved, or the giving of an example of events in possible life, real or imagined, which will serve a medium for a message: which message given badly in abstractions would not directly appeal to our "darkened minds". The play, when written, must be presented to an audience. This is done by players. The question of whether these players may interpret to some or any extent the original delineation or should rather act puppet-like (possibly masked?) is a question much debated (but not here).
This introductory word is very necessary, though possibly extremely obvious. However, it follows from it that there are certain laws governing criticism. First of these is that there are two entirely different classes of critics. The one evaluates the play's writer as craftsman, and his achievement in the portrayal of his theme. The other critic evaluates the players' portrayal of the play to an audience.
I come now to this second service for "Shadow and Substance" and the players, Sligo Drama Circle. This is a play which has, or had, much to say and which has often said it. It portrays the interaction of two personalities, "the man O' Flingsley" and Canon Skerritt. The former, author of a dangerous book, full of bitterness we are led to believe, the latter a pompous clergyman racked with the sin of spiritual pride. The Canon's one redeeming feature, his love for his retarded serving-girl, is tainted itself for it only serves to show the priest the proper relationship he imagines necessary between the intellectual and the books. O' Flingsley, in his bitterness against a system, has attacked another victim of that very system. O' Flingsley has fallen into the trap of believing with Langland's Piers that "The clergy and others like them speak readily of God, and His name is often in their mouths; but lowly men have Him truly in their hearts".
The play, of course, is dated. The teacher is now no parochial hack - no ideal yes-man as is the Canon's protege, O' Connor. Sligo Drama Circle chose to produce this play for some reason which completely escapes me. They are obviously a group capable of better things. Maybe they decided that we need to see again some of these plays of our time which make a standard of comparison. Let us hope, however, that this approach will not continue to be their attitude.
Edward Fitzpatrick played the Canon. He did achieve the first success of acting - the Canon was there. Not possibly the Canon one would have wished to see, but very definitely a solid representation of one view of what the Canon is. Mr. Fitzpatrick is a fine actor - to those who have had the pleasure of seeing him act before this must be obvious. There is material here for a producer. The producer did not make all that could have been made of Mr. Fitzpatrick's Canon (or was it the producer's Canon?). Vivian Francis played the school master. This part, too, was played well. But he seemed to take his attitude from the Canon. The two characters are obviously very alike but only in their fundamental beliefs. In all externals they should surely be more counterposed than we saw them here. This O' Flingsley was not the embittered, intellectual wasting a fine human life on a small town, knowing he was wasting it yet desperately believing somehow he was still right. This O' Flingsley would never have written "I am, Sir Oracle", though he might have done anything else. The movements of both players were very, very good (though sometimes the Canon seemed to be restricted by an invisible fence).
Between these two comes Brigid (Joan Fitzpatrick). I am afraid I simply do not know what the author intended Brigid to be. To me she represents absolutely nothing. This, of course, is not to say that Joan Fitzpatrick did not play well. She played wonderfully. Her playing opposite the Canon was really good. She has a fine talent. Unimaginative lighting, however, detracted from her fine performance. Her announcements of her "visions" I particularly liked. I was sorry that my aversion to the awful part of Brigid detracted from my pleasure in the playing of this actress. Brigid is a completely irrelevant character.
The others in the cast - I enjoyed very much Ray Cawley and Dolores Carr as O' Connor and his aunt. They were nearly too good in the parts they played. I do not mean to suggest any reflection on the main players when I say that these two somehow stole whole sections of the show. Frs. Kirwan and Corr represented a mercifully dying race - the bostoon curates of our land, unshaven football fanatics, believing in good, clean spot as relief for dubious energy. They, too, were very much there, played by Michael Gunning and Seán O' Reilly.
So far, I have restrained myself from the temptation of showing off some nagging talent by making trite remarks (so loved by festival adjudicators) such as "Did I notice a flaw in the wallpaper beside the bookcase?" I will, I hope maintain this standard. There were no major flaws in the production techniques. This play has been better produced before this and maybe will be better produced again; nut its essential lack of universal message, the fact that it did date, makes production difficult. It is surely their universal relevance that distinguishes the plays that are classics. This play is no classic.
The set I very much liked, nicely balanced as it was. To conclude, I will refer briefly to the outline characters Mullahone (Denis Barrett) and Mrs. Mullahone. Martin Mullahone looked rather too sophisticated to me, to be the country nick he is said to represent through the entire scene in which he appeared was helped by him and his wife "Rosy Violet" nicely played by Imelda Mulligan. The Canon's niece, Thomasina, I liked, I fear, because she is a fine representation (played by Betty Bourke) of all that is worst in our vacuous-minded population of young ladies so necessary to the continuance of the race but such a curse to the minds of men like Canon Skeritt.
This play is not being entered for festivals, I believe. Another time I hope to say something on this very vexed question. Suffice it to say that this group and their producer, Miss P. Dowling, would undoubtedly have added extra polish had they had festivals in view. Would it have been worth it? After all is amateur acting not for the players and the audience rather than for medals and cups.
Sligo Drama Circle Gave Great Leadfrom The Sligo Champion, April 20th, 1963 "I am glad I saw this play. I am sure it will go much further and that it will encourage professionals to do it. It is a great lead which the Sligo Drama Circle has given us", commented adjudicator Mr. Vincent Dowling on "The Curious Savage", presented on Wednesday night of last week at Bundoran Drama Festival. Mr. Dowling read the author's foreword to the play which stated that the wrong interpretation would distort the meaning and over-emphasise the distress of the members of "The Cloisters". It was important that it be played with warmth and dignity by the inmates and that they should have charm.
"Straight away", said Mr. Dowling, "I think the players lived up to the author's intentions exactly as he would have wanted them to do". It was a very difficult play to criticise because in the last few moments it finally came to him that it was a fairy tale and he thought the theatre was the place to tell a story like this. He thought it a very happy choice for the players, every audience and for himself (Mr. Dowling). He need say nothing about the setting as it was a marvellous piece of work and he forgot that the stage was so small. He wondered why credit was not given to the designer. There were two levels which were brilliant in a set like this. Groupings at all times were excellent as was the lighting. It was an example of how high the standard of production was when one picked on the fact that the newspaper cutting in the play looked no older than a week when it should have been yellow and crumpled.
Most of the things he had to talk about all week were absent in this production. It brought him down to the question of general approach, a level he was very happy to be at. The players had a slight consciousness of the author's intention in the first and second acts and were inclined to have slight stilted speech. He was glad they did not attempt the American accent; They made an effort to be neutral but slightly hampered themselves in doing this by stilting at the end of a line. The timing of the light switch was a little off. "These are almost miserable complaints", said Mr. Dowling. "I would like to congratulate both producers, Eric Gregan and Una Lappin. The costumes were particularly attractive and the lighting changes fascinating.
The one complaint he had about the acting was in the production section and it was their job to get this stiltedness out of the speech. There was a lack of fluency and it came from the actors not seeing in their minds what they were saying. The one exception to this was Dr. Emmett (Eddie Fitzpatrick) and he believed that this actor believed in what he was saying at all times. "There was a sort of Cusack quality about him", said Mr. Dowling, adding that it was a lovely performance. Florence (Ann Bourke) was a very attractive girl with personality, utterly right in her conception of the part, but was one of the minor offenders on what he had already said to some degree. The only point which she did not convince him was about her "baby". He was extremely moved by the delicacy of her kiss to Ethel. "This is what I call great acting", said Mr. Dowling, "she did it with exquisite taste and tenderness. It was a very beautiful moment". In the third act her fluency was there.
Hannibal (Brian Bohan) gave a sensibly, right performance but was inclined to finish a sentence on the one note. Fairy May (Gerry Boyle) gave another lovely performance. There was a tendency early on to throw out a comedy line to the audience every now and then. She was moving, full of vitality and could easily have gone over the top but in fact never did. Another very right and sensible performance came from Jeffrey (Vivian Francis). He just wondered about the business of holding his hand to his face to cover an assumed injury as he should hide it from the characters, not the audience. All in all it was a very lovely performance which he (Mr. Dowling) was happy with. He also had some very lovely moments from Miss Willie (Monica Toher) particularly at the end. This was one of the surprises in the play. He saw a lot of the stuff in the play coming but the fact that she was married to Jeffrey cam as a shock to him and this actress handled it very beautifully. She had a little nervous trick she would want to watch of turning away and putting her head down, which he accepted at first, but which, when continued, was not quite right.
Mrs. Paddy (Ruth Crampton) had a most difficult part and it was extremely well played. He had at the end what he considered to be the most important thing in any performance when one was moved to tears by truthfulness and she did it for him. Of the Family, Paddy Dooney as Titus; Liam Mc Kinney as Samuel and Marie Mulvihill as Lily Belle he could not be as complimentary to as he had been to the others, because a facet of feeling they were bad threw them more out of gear than the feeling the inmates had of their goodness. A person never felt they were bad, others judged that. The playing and interpretation of lines were excellent and they gave first class performances but this whole production was on so high a level he could not let this pass without comment. Samuel had not quite as much obvious badness, but he acted excellently. He never felt that Samuel's moves belonged to him but were those of the producer with the result that his personal motivation was not quite right.
Ethel (Lottie Bourke) had the same lack of fluency in speech, but had every iota of the character of the part. She held back slightly on the lines. Again he was worried about the act she put on for the family. She was letting the audience know far too much about the fact that it was an act. She was well capable of handling this and was excellent in most of the play. Right through he was utterly happy with her, her idea of the lines, her relationship with the others and in the last act her emotion came through, was never undisciplined and was terribly moving. Lily Belle was beautifully costumed and had a complete understanding of the part but was inclined to turn away when she said her lines. The audience, however, may not have noticed it. "This is an example of one of the things which I wonder whether audiences should be let into or not", said Mr. Dowling, "but it is part of a festival and one must do it".
"The Curious Savage" At Bundoranfrom The Sligo Champion, March 23rd, 1963 "This is a play I have been looking forward to since I came here", said Mr. G. Golden, adjudicating Sligo Drama Circle's presentation of John Patrick's "The Curious Savage" on Wednesday night at Bundoran Drama Festival. "I heard a little whisper of the merits of this show", said Mr. Golden, "and I was somewhat sceptical because I thought it must have some demerits. I found it was a good play and made to look better by this very able, hard-working and talented cast whose fine acting justified the choice of the producers. Presentation, effects, lighting, costuming and setting made it a very good production. It had very good pace, while the grouping and interpretation were excellent. Perhaps make-up should have been a little more subtle.
"The play had a lot of humour and unfortunately it ruined what would have been an otherwise perfect production. The acting was of a very high standard throughout. Lottie Bourke's "Ethel" was a beautifully sustained performance. Gerry Boyle's "Fairy May" had vitality and she gave an excellent portrayal of the part. I liked the effusive wheeze of Paddy Dooney's "Titus" and he carried the false dignity very well. It was a pleasure to watch him working. I liked the false self-respect of Marie Mulvihill's "Lily Belle", while Ruth Crampton as "Mrs. Paddy" was beautifully correct throughout. Eddie Fitzpatrick as Dr. Emmett gave a quite commanding performance".
Concluding, Mr. Golden said, "I could keep on but it was all round an excellent production, and I feel I will have a lot more to say on Sunday night next when I will be recapping". Others taking part were Ann Bourke, Brian Bohan, Vivian Francis, Liam Mc Kinney and Monica Toher. Producers were Eric Gregan and Una Lappin.
"The Curious Savage"from The Sligo Champion, by T.P., March 23rd, 1963 Since curtain-up on Sligo Drama Circle's presentation in Sligo Town Hall last week of John Patrick's three act play, "The Curious Savage", I have learned that some people who saw the production considered that "The Curious Savage" was a curious play. I can't, perhaps, altogether blame them for that, because to many members of the Sligo audiences who saw the play it was definitely different to what they may have come to expect and what they have been used to seeing hereabouts for some years past. It was a play with humour that called for the chuckle rather than the bellow; a play in which comedy and pathos were balanced on a razor-edge and, indeed, a play which I thought would be equally as well enjoyed on second viewing as well as on the first, because it has a depth and fascination which could easily be missed in parts on first seeing no matter how intent the concentration.
I was completely captivated by the performance of the Drama Circle. It was quite obvious that they took this play - which, incidentally, had never before been presented in Ireland - and they realised that in it they had a vehicle which called for very deep, serious and well planned character studies. It was in one sense a pageantry of characterisation. Each member of the cast was called upon to project a very definite character, and there was none of the milk and watery bit-parts that are to be found in so many offerings of the modern theatre. And what a really magnificently brilliant job did the entire cast make. All the interpretations were delightful. There was an all-round tremendously high standard level of acting that was maintained throughout. Indeed one of the really successful elements of the production was this evenness of playing which ensured a very impressive smoothness.
As this is the Drama Circle's festival production this year, and as I feel confident this paper will be publishing comments of praise upon the individual members of the cast during the next few weeks I do not consider it necessary for me to add my tributes to the separate players. Rather, instead, do I group them together and say to them that their performance as I saw it merits high commendation. If in their festival appearances they maintain their high level of acting on the plane they achieved on the night I saw them perform, then I feel confident they should make a really strong bid for All-Ireland honours this year. And the cast have indeed been well served by their producers who quite apparently worked with real enthusiasm to present a play which calls for skilful acting, a well designed set, carefully planned lighting and good effects. To each requirement the producers gave the necessary care and attention.
Having said so much in praise I feel sure I may add just a few notes of criticism. I would have preferred to have seen less and fewer of the backstage staff whenever the door opened into the "patients'" apartments. I thought the split level stage should not have been so split level; that the upstage section should have seemed more a definite part of the room and less like a little platform. There were one or two, but one definitely, bad pieces of masking and I failed to understand why one of the male members of "The Family" should have walked so far through "The Cloisters" with his hat on him and then even kept it on for a while still after he arrived in the living room. All small points one might say. But then when one is dealing with a production of such general merit as "The Curious Savage" one tends to look for small points - as the players themselves will no doubt realise only too well before their travels on the festival circuit are over.
The cast was as follows: The Guests - Florence, Ann Bourke; Hannibal, Brian Bohan; Fairy May, Gerry Boyle; Jeffrey, Vivian Francis; Mrs. Paddy, Ruth Crampton. The Family - Titus, Paddy Dooney; Samuel, Liam Mc Kinney; Lily Belle, Marie Mulvihill; Ethel, Lottie Bourke. The Staff - Miss Willie, Monica Toher; Dr. Emmett, Eddie Fitzpatrick. The Child, Paddy Dooney Jnr. The Producers were Eric Gregan and Una Lappin; Stage Managers, Joe Meehan and Jimmy Gilmartin; Lighting, Joe Lally; Set Design, Eric Gregan; Sound Effects, Eamonn Brazil
Sligo Drama Circle Won at Roscommonfrom The Sligo Champion, January 19th, 1963 "This quite fascinating play was extremely well put over", said Seamus Breathnach when he adjudicated on Sligo Drama Circle's production of "The Curious Savage" by John Patrick at Roscommon Drama Festival on Sunday night. It was the closing night of the festival and the Festival Cup was won by the Sligo group. Mr. Breathnach said the production was very well cast and a very good choice for the group. Some of the players rushed their lines, particularly in the opening scenecs, but that might be due to nerves. There was a tendency to cut in on each other. In the effort to play for laughs, they ignored the fact that there were laughs in the script.
The play was set in America, Mr. Breathnach said, but it would be all wrong to play it with an American accent. Movements were well planned but there was a tendenct towards masking. He thought that the people in the private nursing home were rather too sane. Ann Bourke, as Florence, was beautifully cast but she should have put on a little more of that happy smile. She should have been eternally smiling. That could apply to all the people in the home. Let the others who thought they were sane keep a straight face.
Sligo Drama Circle in "The Evidence I Shall Give"from The Sligo Champion, December 29th, 1962 Sligo Drama Circle, with their eighth production, "The Evidence I Shall Give", a three-act play by Richard Johnson, really surpassed themselves this year and for sheer atmosphere, tempo and acting it will rest in the memories of the people who saw it for a long, long time. For the four nights in which it was staged in the Gillooly Hall, Sligo, patrons demonstrated their appreciation with rounds of applause at regular intervals throughout. Reading the back page of the programme one was informed that their next production will be in March next year and if they rise to the heights they attained with their latest production they can feel well satisfied.
In this play there was a cast of twenty-two and to producer Eric Gregan must go a big vote of congratulations for the magnificent manner in which his players carried, moved and expressed themselves. Every part was suitably filled by members of the cast with, it almost seemed, a natural inclination for the respective roles they played. There were a number of minor roles played by talented Sligo actors and these short comical cameos raised the standard considerably, particularly in the first act when we had two characters on stage who would have brightened any show with their portrayals. We had also difficult scenes, particularly the last one, where the right atmosphere and pitch had to be reached but this was done imperceptibly and the peak of tenseness which this act reached was only realised afterwards.
The scene for the entire play was that of a District Courtroom in the town of Barrabeg in the Breac-Ghaeltacht and besides six summonses by the local Sergeant we had three more cases, that of a French fisherman being caught fishing inside the three mile limit; a young man refusing to pay maintenance to a girl, and an order being sought by the nuns of a girls' reformatory for the committal of a girl to an industrial school for consistent breaches of rules and regulations. Gerry Boyle, who played the Assistant Courthouse Keeper, Polly O' Grady, set the pace for the night. As a stand-in for the regular keeper she was interested in everything and she enhanced her performance in the duologue with the Court Clerk, played by Joe Meehan, who throughout the play gave a very good performance.
The three nuns, Rev. Mother General (Marie Mulvihill); Mother Cecilia (Raphie O' Rourke) and Sr. Mary (Ann Bourke) were excellently portrayed, particularly Mother Cecilia who culminated her performance of a nun lacking maternal instincts very realistically in the last act. The impression these three players gave when they were on the stage was excellent and their movements were very good. Monica Toher, as the interpreter, succeeded in conveying her part over to the audience while Colette Mc Caffrey as Margaret Raffigan, the girl who was causing all the trouble in the reformatory, was convincing and she really excelled in the last act. We had three solicitors who throughout the play were superb. Haranguing between themselves, in cross-examination, presence, mood, all the necessary requirements to produce the professional atmosphere were present and Brian Bohan (Mr. Verity), Vivian Francis (Mr. Burr, State Solicitor) and Jimmy Gilmartin (Mr. Green) must take a second a second bow for their acting. In the last scene when the cross-examination of Mother Cecilia took place, Brian Bohan really excelled himself.
Garda O' Driscoll, played by Denis Barrett; District Justice Mc Henry, played by Dominic Mc Govern, and Supt. O' Flanagan, played by Joe Flood, fitted excellently into their respective parts and as the District Justice, Dominic Mc Govern, a bit youthful looking, perhaps, was well able to portray the genial yet stern Justice. Three who caused bursts of delighted laughter from the audience were Eddie Mc Dermottroe as Patrick Sinnott; Eddie Fitzpatrick as Peter Mc Clane and Lionel Gallagher as the easy beat kid, Maguire. This trio infused plenty of gusto into their parts and with each exit the three of them received a round of well-deserved applause.
We are now left with four characters, Lottie Bourke as Mrs. Browne; Liam Mc Kinney as, her son Jeremiah; Michael Gunning as Sgt. Bornican and Eric Gregan as Jean Omer, a French fisherman. Lottie Bourke should find it exceedingly difficult to surpass this performance. As the clutching mother she gave a terrific portrayal and her manner during the whole play fitted the character she played exceedingly well. In the last act she concluded a brilliant showing when she stood in the witness box vainly trying to evade the questions of the Justice, grasping at the slight chance which had left her in charge of the lucrative farm which was rightly her son's. Liam Mc Kinney, as Jeremiah Browne, a skulking individual content to be ruled over by his mother and to tread the primrose path, was delightfully portrayed. He, too, ended his part on a high note when he realised that his mother was more interested in the money from the farm than in his welfare.
It would be very hard to describe Michael Gunning as Sgt. Bornican and Eric Gregan as the French fisherman. The two of them, particularly in the scene where Sgt. Bornican, who had honours in his Intermediate Certificate in French endeavoured, in vain, to interpret Mons. Omer's remarks when the fisherman was first brought into the courtroom. His perplexity grew to larger proportions when he tried to read what Mons. Omer had written on a piece of paper, and he wasn't helped in any way by the "congratulations" remark from the Justice after he had got Mons. Omer to understand one thing. Michael Gunning played his part subtly and with plenty of expression. In the part where he tries to rush through his six summonses in order to get to the nearest tur accountants to back a horse, he was particularly good.
Eric Gregan as Jean Omer, the French fisherman arrested for fishing for lobsters within the three mile limit, was excellently played and his gestures rounded off by the burst of effusiveness to the Sergeant after his case had been dealt with added the final touches to a first-class characterisation. Seán Kilfeather played the Press Reporter at the court proceedings. Producer was Eric Gregan; Stage Managers: Lionel Gallagher and Una Lappin; Settings: Eric Gregan and John Mc Ananey; Lighting: Joe Lally; Costumes: Virginia Vine Ltd., Dublin.
Packed House for Sligo Players at Athlone Festivalfrom The Sligo Champion, May 12th, 1962 There was a packed audience and extra seating had to be provided at the All-Ireland Amateur Drama Festival in the Dean Crowe Memorial Hall, Athlone, on Wednesday night when a record-breaking crowd saw the Sligo Drama Circle present "My Three Angels". The adjudicator, Mr. James Stack, said the producer had caught the right atmosphere of the play. The general setting was beautiful and on the whole it was very polished work indeed.
Mr. Stack thought that Lottie Bourke, as Emilie, looked just right and he liked her performance very much. Walter Mc Donagh, as her husband, played in the right key. Anne Bourke, as Marie Louise, while rather inexperienced, was very charming. Joe Mc Morrow, in the part of Gaston, was a good actor, but he would have preferred him to be a little more sinister. Jimmy Gilmartin, as the Sub-Lieut., was the answer to any young lady's prayer. Brian Bohan, Eddie Fitzpatrick and Paddy Dooney, as the three convicts, were an extraordinarily good team. He was particularly impressed by Paddy Dooney, "a great natural genius".
Adjudicator's Great Praise for Sligo Drama Circle in "My Three Angels"from The Sligo Champion, March 24th, 1962 "I hardly put pen on paper tonight, as I just sat back and enjoyed myself", said Mr. Norman Rodway, adjudicator, at Ballyshannon Drama Festival, after the Sligo Drama Circle staged "My Three Angels" on Wednesday night last. Mr. Rodway said he would do no beating about the bush, but would put his cards completely on the table. About five years ago, he said, he acted in this play, and when he was going to see it that night in Ballyshannon he was desperately worried as to how he was going to compare the two productions. When one acted in a play, one thought their way was the only way to do it. After the curtain was up for about ten or fifteen minutes he forgot he had ever seen the play, and he thought it in every way a splendid show.
Regarding the play, he said it was one of the best pieces of comedy he knew. If any company other than Sligo Drama Circle had done it, he would say it was a venturesome choice, but these players knew they could do it. It is a magnificent setting", said Mr. Rodway. He would have forgiven them if it had been cluttered because of the main exits and the set still did not look as if it was all doors. "It was really wonderful", he said, adding, "I would not mind to have Eric Gregan (settings) working for me". He thought it would have been an advantage, however, if the play had been done in period costume, though this was a small detail. Referring to Joe Lally's lighting, he said at times it was not well distributed though it was, in general, very good.
The producer, Lionel Gallagher, obviously knew his job. The production had that great thing it should have - unobtrusiveness, and one did not know it was there. It had grouping, movement, rhythm and tempo. Emilie Dulay (played by Lottie Bourke) and Felix Dulay (Walter Mc Donagh) were both very well cast. He felt Felix was a little uncertain in his lines, but he did the character beautifully. He also could have a little more attack at the beginning of the play. Madame Parole (Geraldine Boyle) was also excellent. Gaston Lemare (Ann Bourke) looked beautiful, and was also excellent. Gaston Lemare (Joe Mc Morrow) finally convinced him that perhaps this group was right in not having costume. He was completely convincing as a bad man they should accept. He carried his part splendidly. Paul Cassagon (Vivian Francis) had a difficult part but did it well, though he could be a little more smartly dressed.
A special word of praise went to Sub-Lieut. Espoir (Jimmy Gilmartin) who had little to do but had a very important part. He looked and sounded absolutely right. "Alfred (Brian Bohan), Jules (Eddie Fitzpatrick) and Joseph (Paddy Dooney) are, obviously, experienced, and had a commanding presence on the stage. I admired them particularly because they did not try to outdo one another. They played as a team and worked beautifully together all the time. "Alfred was a lovely mover on the stage. Jules gave a beautiful performance and in his scenes with Madame he displayed another side to the character. As Joseph (the part I played) Paddy Dooney was really good". Sound effects were by Eamonn Brazil.
Festival Adjudicator Says "To Live in Peace" a Grand Productionfrom The Sligo Champion, April 22nd, 1961 "For the last ten or fifteen years the West End of London has been examining with great morbid curiosity every perversity, which they can dig up. This is apparently art. The theatre of the gutter of humanity which has taken place there horrifies me because I was under the impression that art should elevate people", said Mr. Ray Mc Anally at Ballyshannon Drama Festival. He added that it was a great day for him to see the fundamental things, undramatic, but for great sublime reasons, in Sligo Drama Circle's play "To Live in Peace" adapted from the Italian of Giovachine Forzano by Victor Rietti. Following his remarks, Mr. Mc Anally received a great ovation from the audience, and he congratulated Sligo Drama Circle for letting him have the experience of meeting a person as grand as the character in the play ("Don Geronimo" the Parish Priest).
Mr. Mc Anally said, "Cardinal Newman once said you cannot have sinless literature without sinful humanity. We must all agree with that. If a theatre artiste is anything at all, he is a person who interprets people to people. In examining human beings you are going to come across sin, but it depends entirely on what your experience is. A great artiste must be truthful and must not try to gloss over difficulties or present a cheap white-washed picture. He must present truth. I think the difference between a very good artiste and a great artiste is that the good artiste can be dedicated to the wrong ideals and come up with the picture which is there and which you cannot deny. He says 'This is the way God created the Universe'. He is quite right and he draws the conclusion that is despicable. The really great artiste says 'This is the way God created the World' and this is also truth, and he draws the conclusion 'isn't it magnificent, isn't it wonderful', and gives it a sense of wonder and awe. Art has to be the impact of the infinite on the finite. The day we stop reaching for this outline of showing the wonderful things in life, of the fantastic destiny of the human being, the day we stop searching for that, art will be lost.
Mr. Mc Anally said it was a grand production and it was a pity after such a night in the theatre to start criticising anything at all. "To a very large extent", said Mr. Mc Anally, "you offer a criticism to one group and one to another, based on slightly different standards. Obviously, a group entering a festival for the first time cannot be dealt with as severely as a more experienced group. I will pay this group the compliment of tackling them on a fairly high level of criticism. The fundamental point in the play is 'being as wise as a serpent and as simple as a dove'. What we want here is utter simplicity of the priest. To get this across is quite a task. The producer had a lovely set, delightful in fact, and he used colour with a nice sense of design. He took on the entire job of getting the full requirements of this set, in limited space, and got away with it. It was a very courageous thing to do. However, in whatever convention you present a play you must stick to it. Here, there was no playing towards the audience and suddenly the producer is faced with the parish priest handling a near riot and he plays it towards the audience. It is courageous but he broke the convention he had established. Using it only once in the show led to a little spot of bother. The only alternative I think is to change the window.
"Lighting was very good. I think that if this producer had twenty extra spots and dimmers he would use them all well. Costuming I liked, being colourful and pleasant to the eye. I did not like the soldiers' uniforms. It seems rather unfair of me to carp about this because I am quite sure they were hired, but frankly, 'someone's mother wasn't using Persil'. I don't think Napoleon would have tolerated the lack of polish. These men might have been wearing uniforms which were dead accurate but it isn't always necessary to be accurate as long as you get a better effect from from something which may not be uniformly right. As far as I was concerned they were not quite theatrically correct, though you can be sure this was outside the producer's control. The producer's movements were done very well. There were one or two messy bits and I would like to see him use the stage more. He got into very slight masking problems by playing most of his movements in the centre of the stage In a small stage it is essential for him to use it more.
"Maria (Mary Mc Govern) with Agnese, were much too like the type of housekeeper Joe Tomelty writes for his priest. They should have established the uninhibited thing at the beginning. Maria had not quite enough Italian warmth. The doctor (Myles O' Leary) was quite good. Matteo (Monica Toher) needs a little more velocity and it will be a quite good performance. Cecco and Spinose (played by Lionel Gallagher and Jimmy Gilmartin) had smallish parts and were quite good. Lorenzo (Eddie Masterson) I thought overplayed. Corporal Martiez (Eddie Fitzpatrick) played so much for comedy and the gay deceiver. In fact he is a nice, honourable, clean, good fellow. It is a comedy part but I think he played it for a slightly wrong sort of comedy. This was not helped by the French accent when it was not being used by everyone. General Miollis (Joe Mc Morrow) had a speech problem too. He was quite good. Friar (Joe Lally) definitely overplayed as did the lawyer (Joe Hayes). Cavaliere Dossi (Vivian Francis) was quite good. The acting right through the show was quite uneven. There is a lack of decision among the characters about exactly what they are doing. As it happened, the whole thing delved together in a show which was good. So much exact good was done by the producer that these faults don't spoil the show though there are many ways in which it can be improved.
Don Geronimo (Paddy Dooney) gave a delightful performance. He was very good in comedy and when he got his quiet moments, when he had to build up sincerity, he was true right to the bottom of his soul. I was very pleased. Internally in the show he is called upon to do a lot of things, emotionally and intellectually, which in a play like this are deceptively numerous. This man displayed a versatility of soul internally which I thought was wonderful. There was a sense of great understanding, comedy and human sanctity. I hope you will forgive me for complaining a little in that he put in a little too much fussiness. I would like to see him easing up on this. This player has quality, tremendous depth, a really gorgeous sense of timing and a lovely sense of humour, as well as having the trouper instinct.
I have been quite sever in terms of acting and production because this production deserves to be criticised on as high a level as possible. There are novice shows which I will not attack on a high level, but this is a 'big boy' and should be able to take a few words from me." The producer was Joe Flood and others taking part were - Una Lappin, Ruth Crampton, Dolores Mac Grory, Mary Lu Raftery, Aubrey Lally, And Joe Meehan.
Drama Circle Won Premier Award at Cavan Festivalfrom The Sligo Champion, April 1st, 1961 Sligo Drama Circle, with their presentation of "To Live in Peace", had wonderful success at Cavan Drama Festival where they secured three major awards. The production won the premier award, the Dr. Lyons Cup; the Drama Circle's producer, Mr. Joseph Flood, won the Producer's Cup, while the gold medal for acting was won by Mr. Paddy Dooney who played the leading role in "To Live in Peace".
He wished to thank publicly the group for bringing to the festival this simple, loveable and very fine piece of theatre, Stanley Illsley said after the Sligo Drama Circle had staged "To Live in Peace" before a large audience. "This was no one man show", he said. Everybody got a fair crack of the whip and had come up to expectation. The play had established that they had a stage in Cavan upon which almost everything could be done, and that there was a first class staff behind the scenes. It was clear too, that the offstage effects were as essential to the play as the actors. The producer, Mr. Joseph Flood, deserved congratulations with what he had done, Mr Illsley said, and great praise was due to the designer of the set, the details of which were wonderful.
The play was highly suitable for a festival, or, indeed, for any occasion. He was carried away by it, as was the audience, to judge from its reaction. The play was sincere, had got pathos, comedy and action and above all had historical interest. He believed it was a play that would be done by other societies now that the example had been set. In Act I, said the adjudicator, they had an excellent atmosphere which was "just what the doctor ordered". The costuming showed great care and attention and the accuracy was superb. The entrances all round were very good and the grouping was beautiful. The splendid detail, even to the dust on the boots of the soldiers, was worthy of emulation by other societies. There was a nice, even tempo and the players moved with ease and dignity.
Speaking after Sligo Drama Circle's presentation of "To Live in Peace" on Sunday night at Bundoran Festival, Mr. Barry Cassin said his remarks would be relatively brief because of the final adjudication and the fact that he had seen the group perform in Roscommon, where they gave a "reasonable" show. They were so good this time that they would give him trouble in making his decision, as the sow had improved since he had last seen it. The setting was a very good one, indeed; it had a lot of atmosphere. The first act was effective, but by the end of the play there was a lot of patchiness in the lighting; nevertheless, the lighting was very good. The effects were well done, apart from the opening music, which went on too long. Costuming was bright and cheerful, and looked right for the play, and the interpretation had been correct. He referred to it as a "cosy Little play" and as a "village pump allegory", which was successful entertainment. It was well directed. The first and third acts moved very well, but the second act had not been quite so good.
Referring to the acting, he said the play depended entirely on one person, and that night they had an absolutely magnificent performance from "Don Geronimo" (Paddy Dooney). It was subtle, deeply felt, and he had comedy and humanity which was a great thing. The part was the equivalent to "sour spuds and butter Parish Priest", he said. The actor's delivery was very good, as was his timing of lines. He lost some of the irony in dealing with the conspirators. When this actor was playing, the other members of the cast reached a high level of performance. He carried the show clearly, cleverly, firmly and with absolute confidence.
Agnese (Marie Mulvihill), gave an interesting characterisation. It was a very good performance., though not the performance of the part that he would have expected, but this did not take anything away from it. She played it as a rather refined lady. Maso (Brian Bohan) gave a bright performance. Mattea (Monica Toher) got a very good quality from the part which was effective. The Doctor (Myles O' Leary) might get more worked up in the second act. It was a straight enough performance. The Corporal (Eddie Fitzpatrick) was very good and had the right touch of bravado. The General (Joe Mc Morrow) had improved his performance but still needed more authority. The Friar (Joe Lally) must be much more anxious and furtive. He was to "greasy" a character. Cavaliere (Vivian Francis) had all the indications of suaveness, but the technical proficiency was not quite there.
Sligo Drama Circle Stage "To Live in Peace"from The Sligo Champion, March 18th, 1961 The stable yet unsatisfactory relationship between Church and state in the early nineteenth century, man's uncontrolled quest for riches and power and the quiet, unassuming disposition of a country priest stood out in stark reality this week when the Sligo Drama Circle presented Giovacchino Forzano's "To Live in Peace" in the Town Hall. However, far from being a drama steeped in history's troublesome turmoil, this was a lively and oftentimes hilarious comedy which set an exceptionally brisk tempo from the start and maintained it to the end. Basically, the play presented itself as a light-hearted piece but not far beneath the superficial cloak of mirth, one could quite easily detect a moral - a message which brought to light all too easily the ills from which man has suffered since the beginning of time.
The action of the play took place in the living room of the house of Don Geronimo, the Parish Priest of Certaldo, a village at the top of a mountain near Sienna in Italy. Early scenes portrayed the simplicity with which the ordinary country folk tended their daily chores, guided by Don Geronimo who managed to rule his parish peacefully and quietly. Even the village doctor could find no work to do as none of the parishioners ever suffered an illness. Certainly, the early years of the nineteenth century brought nothing but happiness to the people of the village.
In far off France, Napoleon had come to power and, as was the custom of the times, his immediate relatives were placed in high offices. Word eventually reached Certaldo that the Emperor of France was prepared to raise Don Geronimo to the dignity of a Cardinal as he happened to be a relative. While the saintly priest pondered on whether or not he should accept, his friends fought over who should go to Paris with him as part of his retinue while others sought favours of one kind or another. Finally, of course, Don Geronimo decided to stay with his children and peace and prosperity returned to the village again.
The colourful setting which constituted Don Geronimo's living room was very true to life while the lighting and general effects - especially the crowd scenes - were excellent. Of course, the central character of the play was Don Geronimo.
As he moved quietly through time, untutored in the ways of the outside world, he guarded his flock and set them right when problems came their way. Never, however, have I seen an actor fill a role so convincingly. He painted a perfect picture of the old yet ever-active Parish Priest and his timely comments allied with his slow but certain constructive reasoning added considerable strength to the overall character. As in other years, this well-known Sligo actor gave a performance which would do justice to any professional company of players. His expert handling of the lines won him the admiration of the audiences while his unquestioned stage presence and his ability to construct the character of the priest forcibly and convincingly gave all of us the feeling that here indeed is an actor of outstanding ability. Certainly, this was the greatest piece of acting seen on any stage in Co. Sligo this season.
The role of Agnese, Don's personal servant, was filled by Marie Mulvihill. The great faith she had in her master was portrayed perfectly by this young Sligo actress who has proved her true worth on more than one occasion before audiences in this county and even further afield. Her free and easy analysis of the part was instrumental in creating a truly homely atmosphere and, throughout, she gave a truly delightful and intelligent characterisation. As Maso, the shy young sacristan who was deeply in love with Mattea, Brian Bohan displayed the virtues of spontaneous uncertainty which were so vital for the success of this particular part. He spoke his lines clearly and with a full understanding of what they were meant to convey and never on any occasion did he lose that sense of embarrassed simplicity around which his character was built.
Another Sligo actress who has captivated Sligo audiences for some years is Monica Toher who took he part of Mattea. Her wonderful facial expressions and her often bewildered outlook on life portrayed honestly the position of a young girl caught in a maelstrom of worldly affairs. The part of Corporal Charles Martiez, who eventually stole Mattea away, was taken by Eddie Fitzpatrick. Here again, a relatively minor part was played to the full. The love scene was especially captivating and, taken all round, the characterisation was a convincing one. As the doctor, Myles O' Leary was satisfyingly impressive. He was a man who could find no work in the village but he was quick to ensure that he did not miss the band wagon for Paris. This was yet another smaller part which was handled delicately and carried through to a successful conclusion.
Of course there were other parts which added much to the overall production. They included Maria (Mary Mc Govern), the anxious mother of Mattea; Lorenzo (Aubrey Lally), the foolish and comical clown; General Miollis (Joe Mc Morrow), the firm and resolute army General; Friar Sylvestro (Joe Lally), a monk who had his own tales to tell and his own ends to accomplish; the lawyer (Joe Hayes), who was out to put things in their proper perspective and ensure that he received his just reward; Cavalieri Dossi (Vivien Francis), who had come all the way from Paris to make sure that Don Geronimo knew exactly what to expect; Cecco (Lionel Gallagher), Spinoso (Jimmy Gallagher), and Capt. Oddofredi (Liam Mc Kinney).
The peasants included Una Lappin, Mary Lu Raftery, Ruth Crampton, Dolores Mc Grory, Joe Meehan and Eddie Masterson. Production was by Joe Flood, who is due a word of congratulation for his thoughtful handling of the play. Offstage effects were by Eamonn Brazil; make-up by Marie Mulvihill and Monica Toher; lighting by Joe Lally assisted by Dominic mc Govern; stage manager was Liam Mc Kinney and setting by Jimmy Gilmartin.
Sligo Drama Circle's "To Live in Peace"from The Sligo Champion, by Tadhg Glenanne, April 8th, 1961 The Italians have given us some very good plays and many good ones. "To Live in Peace", which the Sligo Drama Circle presented at the Town Hall, was not one of these. This play has a strong central character, a host of minor characters, some fine flashes of humour and loads of sentimentality, but it is a poor play. While it received many plaudits at festivals last year when done by a well known neighbouring group it is to be regretted that the Drama Circle wasted its talent on it.
When the curtains parted on the opening scene, the audience had already been waiting almost twenty five minutes from the advertised starting time. Those who had the courtesy to arrive in good time for a punctual start were in their seats over half an hour before the play began. This delay had dulled any keen anticipation the audience might have had, and it would require a heck of a good show to bring a restive and already tired audience round to full participation and enjoyment. The show was undoubtedly good, but following the power of "Montserrat" and the glory of "God's Gentry", somewhat disappointing.
It was a one man show. Paddy Dooney as Don Geronimo, Parish Priest of Certaldo, near Sienna, in the year 1804, was the show. All the others in the cast, and we have seen some fine acting from some of them in previous plays, were overshadowed by his portrayal of the aging priest who has a cardinal's hat thrust in his grasp. Even before he appeared on the stage, when speaking from the depths of his cellar, his presence was felt, and from his first entry till the final curtain he dominated the play by his sincerity and his entirely convincing acting. The author who created the part deserves some credit, of course, but without an actor capable of playing it, his work would have gone for nothing. Paddy Dooney played the part splendidly. He might, however, have invested, his miming of his imagined powers as a bishop with more studied seriousness, for the impression given was one of lightheartedness.
In a play of this kind, when most of the work is done by a central character, the lesser roles assume the greatest importance. It is through them the story, if there is a story, unfolds, and each actor must bring to his study of the part a perfection which the producer will use in building these perfect parts into the flowing unit of the play. If each minor role is not exactly right, and acted well, the balance of the play is upset and the parts that are well acted only show up what is lacking in the others. In this production there were many signs of slackness and lack of study in some of the smaller parts. From the women in the Drama Circle, only the best is now expected. Marie Mulvihill's tinker (Betsy Connors) in "God's Gentry" and Monica Toher's half-breed (Felisa) in "Montserrat" are portrayals that live in the memory. This play, "To Live in Peace", gave them little chance, and while they took advantage of the few chances given and played them well, their characterisations were not very memorable.
Mary Mc Govern as Maria, the mother of the beautiful and light headed Mattea, gave a nicely pointed interpretation, quiet, worried and eventually bewildered, of her part. As Maso, Brian Bohan gave a credible performance of the peasant sacristan. The producer might see to it that he, Maso, in future performances varies his entrances to suit his mood. Vivian Francis, who played Cavalieri Dossi, was aided by the brilliance of his costume in giving a very good account of this scheming rascal. He spoke with persuasive skill, and the echoes of the spinning gambling wheel could almost be heard in his voice. Friar Sylvestro, (Joe Lally) revealed himself almost at once by his overacting - his rolling eyes and and exaggerated shiftiness - as the fraud he was. The revelation of his crookedness should have come as a surprise. As played, it would have been a surprise if he were on the level.
General Miollis (Joe Mc Morrow) and the love-stricken Corporal Martiez (Eddie Fitzpatrick) did not blush unseen. They blossomed fully and effectively. Production was adequate, businesslike and unimaginative. When there were large numbers on the stage the groupings were rather mechanical. The lighting was very good. It was the most effective lighting plan used by the Drama Circle so far. The set was attractive and realistic enough, though it was risky, even though no other solution presented itself , to put a side window facing the audience, when it was obvious that the people addressed by the Parish Priest through the open window were behind him. It was a pleasant change to see coloured walls instead of the drab canvas flats of the Town Hall.
The producer and the cast are not to be entirely blamed for the costumes; they were hired, the programme said. Except for those of Don Geronimo and the soldiers, the rest of the cast looked as if they dressed for an operetta or an old time musical. Admittedly, it was the Festival of the Wine Harvest and a bit of gaiety was expected. but Maso's new suit was a (Grafton) street away from the cloths of the others. Agnese seemed to have arrived directly from "White Horse Inn" and Mattea appeared to have wandered from a performance of "Patience". This varied raiment and splurge of colour gave an air of unreality to the play - a burst of song was expected at any moment.
But Don Geronimo was great. He lifted a dull, platitudinous play right off the ground and kept it aloft. It is this performance, and not the play, one remembers.
Producers of Play CommendedPress Cutting, 1960 "It is a strange play for two ladies to direct because it is a profoundly masculine play", said Mícheál Mac Liamóir at Ballyshannon Drama Festival last night about Sligo Drama Circle's production of 'Montserrat'. "On the whole", he said, "I must congratulate them from the heart". The producers are Miss Una Lappin and Miss Marie Mulvihill. Mr. Mac Liamóir said the setting was the best he had seen to date. The play was beautifully costumed and very well mounted, in many cases it was very finely played. The second act was much better than the first for the simple reason that there was better acting and it was better written. The players got much better into the spirit in act two. T. P. Hayes as Montserrat gave a grand performance and he liked him very much. He had all the sincerity that the part demanded, but at times lacked the strength the character should have. Paddy Dooney as Salas Ina was splendid. Eddie Mc Dermottroe as Izquierdo gave a striking, vivid performance. Mr. Mac Liamóir said that the two girls Marie Mulvihill as Matilde and Monica Toher as Felisa were an exception to his remarks a few nights previously about Irish people moving badly. They moved beautifully. They were beatifully dressed, well made up and their playing as a joy. Lionel Gallagher as Ricardo gave a grand performance. It was a most admirable performance from a young actor. Walter Mc Donagh as Salcedo was immensely effective.
Sligo Group Gave Very Good Performance in "Montserrat"from The Sligo Champion, April 3rd, 1960 "I think that for their courage, energy and true virility, in tackling a play such as "Montserrat" these players deserve a very big 'Thank You'", said the adjudicator, Mr. Micheál Mac Liammóir, of the Sligo Drama Circle's production of "Montserrat" at Ballyshannon Drama Festival last week. Mr. Mc Liammóir said these players gave a very good performance. It was a strange play for two ladies to produce (the producers were Una Lappin and Marie Mulvihill) as it was profoundly masculine in character.
He congratulated both ladies from his heart for such an excellent production. The setting was the best he had seen at the festival to date. The architecture was admirable as was the colour and dress. It was beautifully costumed and in many ways very finely played. To him, the plums were reserved for the second act because it was better written and acted. The characters got much more into their stride in the second act but in the second act but in the first act it was somewhat spoiled by artificiality. He felt there was too much of the grand manner, without conviction, to carry it off.
"It was astonishingly and astoundingly of the professional theatre", said Mr. Mac Liammóir, "but not the best of the professional theatre. This grandeur without conviction is the dying professional theatre and very few of us will weep for it". There were many meaningless moves between the three soldiers in the first act, as they "popped" about a lot. When Salas Ina and the rest of them were left alone with Montserrat, the movements and groupings were inclined to get muddled and ineffectual. Much more rehearsal was also required on the rostrum.
Montserrat (T.P. Hayes) gave a grand show. He had all the sweetness of the part, but occasionally lacked strength. A great stillness of mind and body would help him. Izquierdo (Eddie Mc Dermottroe) was very fine and conveyed the grandeur of his part. He should learn breath control but he gave a striking and vivid performance in places. Salas Ina (Paddy Dooney) gave the best emotional performance he had seen. He was a born character and he would like to see him as Shylock in Shakespeare's play. He had a feeling for the luxurious, swift Jewish character but should not use a Jewish accent but speak as the other "Venezuelans" did. Of Salcedo (Walter Mc Donagh), Mr. Mac Liammóir said, "I have never seen such an exposition on a stage of such a weak character. It was really excellent".
He especially praised Matilde (Marie Mulvihill) and Felisa (Monica Toher) who were beautifully dressed and looked so well. They were a joy to watch. These two girls exploded his theory that Irish girls could not move gracefully as they went around the stage like dancers. "Note the grand performance of Ricardo (Lionel Gallagher)", said Mr. Mac Liammóir. "He had no foreign accent but had his Sligo one. It was not noticeable because he played from his heart and in a minor part he was admirable". Luhan (Brian Bohan came into his own in the second act. He congratulated the players for daring such a play, getting away from the Irish kitchen, and they had been almost entirely successful with it.
More Sligo Drama Circle Successesfrom The Sligo Champion, April 2nd, 1960 Speaking at Cavan Drama Festival after the Sligo Drama Circle staged "Montserrat", the adjudicator, Mr. Godfrey Quigley, said he was deeply grateful to the company for their presentation of this play as he had spent 13 or 14 weeks playing it himself, and he was incredibly moved by the Sligo presentation. The play had a lot of faults which made it difficult to present. It was a play of absolutely intense passion. Unfortunately, that night it was lightweight in the first half. To do this play properly it was essential to create emotional tension. The company could do it in the second half and he wondered why they could not have done it in the first half. If the company wanted the play to get the applause and accolades it should get, they would have to work on this lack of tension and lack of tempo in the opening.
"Other than that it was a first-class production from every point of view", said Mr. Quigley. Dealing with the actors, Mr. Quigley said the standard was extremely high and there was excellent acting by the hostages. Marie Mulvihill, as Matilde, had given a lovely performance while Paddy Dooney, as Silas Ina, and Walter Mc Donagh, as Salcedo, were an example to the cast. T. P. Hayes in the title role showed that he was a very sensitive actor and he had given a beautiful, original performance. It was the best portrayal of the part he had seen.
In the first half of the play, said Mr. Quigley, he did not think that Eddie Mc Dermottroe as Izquierdo had the power to put the part over but it was brilliantly made up for in the second half and he thought that he was the finest Izquierdo he had seen. Mr. Quigley added that Joe Mc Morrow, who had substituted for Dominic Mc Govern as Fr. Coronil, had given a very fine performance for a man who had come in at the last moment.
"Montserrat"from The Sligo Champion, March 26th, 1960 Mr. Seamus Breathnach offered very little criticism of Sligo Drama Circle who presented "Montserrat" on Wednesday night of last week at the Bundoran Drama Festival. Mr. Breathnach said: "I have very little to say about this performance. It gave me very great pleasure to watch this group at work. The setting and costumes were everything they should be. The only criticism I would have is with the producers (Una Lappin and Marie Mulvihill). They made a wonderful job of the play, and the only thing I have to say are in regard to movements and positions. The set was not the same as originally planned, I understand, being smaller, and though I found little wrong with it, it was probably responsible for the masking and groupings we had.
"each and every member of the cast worked very hard indeed. They were beautifully cast. I think it would be wiser of us to adjourn and talk with the producers and each member of the cast. While the producers may not agree with me in everything, it is the only way I can be of any help to this group. It gave me such pleasure that it would be very wrong to give a list of such small details which made very little difference to the performance. By giving them to the producers it might be of help to them in any festival of the future".
Those taking part were Michael Gunning as Zavala; Joe Flood (Antonanzas); Jimmy Gilmartin (Soldier); T.P. Hayes (Montserrat); Liam Mc Kinney (Morales); Eddie Mc Dermottroe (Izquierdo); Dominic Mc Govern (Fr. Coronil); Paddy Dooney (Salas Ina); Brian Bohan (Luhan); Lionel Gallagher (Ricardo); Monica Toher (Felisa); Marie Mulvihill (Matilde); Walter Mc Donagh (Salcedo).
Sligo Drama Circle in "Montserrat"from The Sligo Champion, by Frank Calder, March 5th, 1960 Is treachery praiseworthy? If good results from treason, is it to be admired? These are questions which may be asked after seeing Sligo Drama Circle's presentation of Lillian Hellman's adaptation of Emmanuel Robles' "Montserrat". To most, treachery is despicable. The betrayed abhor the betrayer, no matter what his motives, and his memory is distained. Those who benefit by the betrayal let the advantageous results to themselves obscure the means by which these results came, and consider the treason but a small link in their chain of destiny. Yet, in this play of treachery and conflict, treason, and a traitor in the person of Montserrat, have our admiration and sympathy. The traitor is the hero and we are on his side.
Sligo Drama Circle's production of this exacting play was effectively staged and adequately produced. Firmer direction in the opening scene would have got the play off to a better start and created a more vivid atmosphere of the tension which hung over the officers and soldiers of the Spanish army. With the entrance of Montserrat this feeling of tension was established and the play sprang to life and continued to grow in strength till the end. More attention could have been given to the lighting. One of the characters (Matilde) remarks in Act 1 that the sun is already going down. Yet at the end of Act 2, almost two hours later, the lighting is unchanged. If the music, with which the unseen, eccentric Governor entertained himself, was considered by the producers to be essential to the production and to the dramatic effect of the play, it should have been audible enough for the audience to distinguish or else omitted altogether and merely suggested. The woolly sounds, obviously from gramophone records, which aimed at suggesting music at a distance, did nothing to heighten the sense of drama.
The acting was a triumph for the principals. They acted well and spoke well, conveying a sincerity that made the audience believe in each of them. Their acting was convincing and eloquent in its ferocity or in its restraint. With the exception of the women, they were an unlovable lot of characters - even Montserrat, the hero, was a traitor - but each actor succeeded in gaining sympathy, or derision, for the character he portrayed. T.P. Hayes, as Montserrat, was splendid. He showed great stage presence and his restrained, minor-key approach to the role left him some wonderful opportunities for showing deep feeling and complete conviction in the part. As Izquierdo, Eddie Mc Dermottroe gave what is probably the best performance of his acting career. The character is a formidable and inhuman one, but the actor conveyed that aristocratic and urbane manner Spanish aristocrats are credited with. His (Izquierdo's) conflict, while not so great as Montserrat's, was a terrible one, and this was well brought out in the acting. It was a pity the make-up made him look oriental - Spain did not own the Philippians at the time, of course!
Poor, poor Salcedo! What a marvellous job Walter Mc Donagh made of his part which could have so easily lent itself to over-acting. His scene, when forced by his torturer to play his favourite part from a play, was one of the highlights of the entire performance. For the second year in succession Paddy Dooney (Salas Ina) had the part of a gombeen man, this time the Spanish-American variety, and to all appearances a more hateful type than the home product. He played the part with such a sickly oiliness, that thought we may have pitied the character he portrayed, we were not sorry he was the first to be shot. A very fine piece of work, indeed, this was. All it needed was a little more shading to make it almost perfect.
The women were excellent, Monica Toher, as Felisa, with so little to say, and yet such a vital part to play in the action of the drama, brought to this characterisation a forcefulness that was acute. Matilde who found herself in a situation entirely beyond her comprehension, was beautifully portrayed by Marie Mulvihill, who conveyed the stunned amazement of this poor woman admirably. Brian Bohan gave an adequate performance as Luhan. The other members of the cast were necessary to the unfolding of the play, but their contributions to the acting are best passes over in charitable silence. The contrast between their work and that of the principals made the play, well produced though it was, uneven and not entirely satisfying.
Thinking of this play and its real hero, Bolivar, one is inclined to the opinion that had he been captured, and the liberation of Spanish-America delayed some fifty or sixty years, these countries would have been happier. The Spanish yoke - that easy, stupid, backward, indifferent, intolerant yoke - was thrown off and the people persecuted by their own with greater ferocity than Spain ever knew.
Sligo Drama Circle in "Montserrat"from The Sligo Champion, February 27th, 1960 A man's tortuous conscience is often his most relentless enemy. Invariably, such a person's mind is shattered by conflicting thoughts of what is right and what is wrong and his innate ability and dedicated ambition to do just what is correct are usually misinterpreted. When the lives of six innocent people depend on the balance of a man's conscience, the general situation takes on a more turbulent shape and, consequently, one finds there is little that transcends the will to live. The Sligo Drama Circle's presentation of "Montserrat" by Lillian Hellman from the French of Emmanuel Robles, in the Town Hall, Sligo, this week, pin-pointed only too clearly the weaknesses of man. At the same time, there was always the question of what should be placed first - one's life or one's country.
This was a very difficult play and was a sharp contrast to the one staged twelve months ago by the same group. There was immeasurable scope for good acting and the various members of the cast took this in their stride. The play was excellent and even the hardened critic would only be too willing to take the opportunity of congratulating the players. The action took place in the outer room of the General's Palace during the Spanish occupation of Valencia in Venezuela in the year 1812. One of the Spanish Captains, Montserrat, is accused of treason and he readily admits the charge. However, what he will not disclose is the whereabouts of the rebel leader, Simon Bolivar, "The Liberator", who was a Venezuelan of Spanish descent. In 1811, at the age of 28, Bolivar led his people into rebellion against the Spanish and within ten years, he won liberty for Venezuela and Columbia. He then went to the assistance of Peru and during the wars, his fearless deeds and thrilling escapes made him a living legend.
Montserrat believes in Bolivar. He sees him as a true liberator and a true leader. His obdurate will can only direct him to do the right thing but before the play reaches its climax even he begins to wonder should he bow to the request of the Spanish Colonel, Izquierdo, whose grotesque and denunciatory manner brought about an extremely delicate situation. Izquierdo knows only too well that ordinary torture will not loosen Montserrat's tongue and he realises he must revert to a subtle mode of torture. He orders that six innocent people be taken from the Square and together with Montserrat, he leaves them all together in a room for one hour. At the end of that hour, if Montserrat has not disclosed the hiding place of Bolivar, Izquierdo promises to shoot all six people.
And what a queer collection of people they are. Truly, one might say, a cross-section of the population had been thrown at the mercy of Captain Montserrat. There was Salas Ina, the wealthy merchant who knew exactly what he wanted in life and had waited long enough to get it. The uneasy confidence of Montserrat's deranged mind failed to impress him at the start. The whole thing was nothing but a cruel joke - something about which he could tell his charming wife when he got home. He had everything to live for and the stubborn temperament of any man was not going to come between him and his plans for the future. The congenial approach to the matter soon disappears, however, as he slowly begins to realise the full and bitter meaning of his plight, and he becomes near-delirious in his efforts to move Montserrat.
As Salas Ina, Paddy Dooney gave what was, perhaps, his best ever performance. The character was portrayed with expert sincerity and the ingenious fashion in which he moved across the stage was faultless. His hands and eyes were used to trace the full meaning and painful reality of the scenes. Like the others he had two separate characters to play - firstly the rich merchant who had the best part of his life to live and secondly, the pitiable broken man who was facing a quick and unexpected death. Both parts were realistically painted. Salcedo, a professional actor, was played by Walter Mc Donagh. The fact that he was a Spaniard did not raise him above the others, except, perhaps, in his own estimation. He had played before royalty and before the nobility and he had his mother and father to support so he could not afford to die. Such a fate seemed obscure in view of the fact that he was a devoted Royalist but he, too, soon realised that Izquierdo meant business and he saw that his life was very much in the balance and only a word from Montserrat could save him.
At other times and in other places, he had played the death scene from a famous play to perfection but now his time had come to play it in real life. However, he managed to hold his head high while he spoke his heroic and forgiving words. Walter Mc Donagh has never given a second rate performance on a Sligo stage but he surely surpassed himself this time. The part seemed to be made just for him and his words of comfort often tended to allay the fears of the others. The character was instilled with that living vitality which made it appear so real and the true significance of the final brutal scene was reflected only too clearly through this actor.
Luhan, played by Brian Bohan, was a comparatively young but up-and-coming wood carver and although he was a poor man, his work was well known and many of his pieces had found a resting place in museums. Undoubtedly, he was the most hot-blooded of the six prisoners and at first he was prepared to kill rather than be held captive. Seemingly, he alone took the Colonel seriously from the very start but in the end, he resigned himself courageously to his fate. Many will remember Brian as Larry Ward in "God's Gentry" and on this occasion, as before, the standard of acting he attained was definitely first class. The verve and energy with which he characterised his role were the ideal qualities and fitted the situation perfectly.
The fourth male prisoner was Ricardo, played by Lionel Gallagher, a newcomer to Sligo audiences. He was naturally interested in seeing his country freed from the Spanish oppression but he never pictured himself dying like this. He was the youngest of the six yet he was prepared to accept death quicker than either Salas Ina or Salcedo. This young actor gave a meritorious performance and his accent and dejected countenance never failed to impress. And then there were the two female prisoners, Marie Mulvihill as Matilde and Monica Toher as Felisa. In the circumstances, no two characters could have been more different. Matilde was a young mother who had locked her two children in a room at her home and unless she returned quickly to free them, they would die. Naturally, she was under intense strain and she even promised to return to the Palace if she was allowed to return home to release the children.
Marie Mulvihill knew exactly how to radiate her motherly instinct and her pleas for mercy rang bitterly in the hearts of her friends and enemies. Her soothing manner and her absolute disbelief in what was happening rendered her all the more pitiable while her failure to grasp the magnitude of the situation was something definite and real. Felisa, on the other hand, was the only person who supported Montserrat from the very start. She knew little of the ways of love but she believed in Bolivar and she was ready to die for him. She had no need for a simulated appearance and the ghoulish promises of the Colonel did not trouble her as much as the others. Monica Toher fitted the role perfectly. She had little to say in the earlier scenes but her eyes depicted her thoughts and one could always detect a certain fear behind her unschooled face. Her derogatory remarks to the Colonel were made with all the fire and hatred of a woman who believed in herself and believed in what she was saying.
What was the character of the man who held the lives of these people in the palm of his hand? Was he the cruel monster Salas Ina made him out to be or was he a quiet and inoffensive person who foresaw the end of Spanish rule in Venezuela and who believed the time had come when someone had to make a stand? This was how he appeared in the eyes of Felisa. Montserrat, played by Tom Hayes, was torn between his faith in Bolivar and his respect for the people who would die unless he spoke. His stern countenance hinted a person of resolute nature yet, before the end, he was reduced to a dejected man who could have fallen either way. Indeed, had not Felisa intervened on one or two occasions, he would have handed over the necessary information rather than see Matilde die.
Tom Hayes, yet another newcomer to the Sligo stage, was the ideal choice for this part. Though slightly built, he nevertheless had the appearance of a man ready to command. He was always seeking a way out of what was for him a terrible puzzle and as he sat and listened to the others it was quite easy to see that he was always thinking, and always hopeful that something might turn up. The decision he made could free the country forever but he had to decide whether or not he would be justified in condemning six innocent people to death. The dangers which faced all of them were well known to Montserrat and throughout the play, it was easy to detect just what these dangers were by his strong voice and irritated movements.
The villain of the piece was Colonel Izquierdo, played by Eddie Mc Dermottroe. This was a most difficult part and it is doubtful if there is another actor who could have put it across so well. This was the man who made Silas Ina squirm and his insidious laughter cast an eerie spell over the other prisoners. Imperturbably, he stated his conditions and he made it quite clear that he intended to carry out what he promised. He was as sly as a devil and as quick as a fox yet he failed to win over his prisoners. He thought he was justified in going ahead with his stubborn plan and he was seldom susceptible when Montserrat tried to reason with him. Eddie Mc Dermottroe had all the necessary qualities to fill this part to perfection and the fact that his ridiculous attitude towards the whole thing even incited the members of the audience is true proof that he portrayed the character to the fullest. His facial expressions really fitted the part while his austere glance always had the desired effect.
The part of Fr. Coronil was take by Dominic Mc Govern. He endeavoured to cut himself off entirely from what was going on and he explained to Montserrat on numerous occasions that he wished to take no part in the killings. This was a quiet role, well acted. The other parts were taken by Michael Gunning (Zavala) who appeared to have more interest in playing chess and drinking wine than fighting a war.; Joe Flood (Anronanzas), a poor chess player who seldom knew what was going on; Liam Mc Kinney (Morales) a hardened officer who could not let his feelings interfere with his work and Jimmy Gilmartin (soldier). All are to be warmly congratulated on their performances.
The production was directed by Misses Una Lappin and Marie Mulvihill while the off-stage effects were handled by Messrs. Eamon Mc Guinness and Michael Foley and Misses Mary Lu Raftery and Imelda Mulligan. Make-up was by Marie Mulvihill and Monica Toher while the lighting was by Terence Byrne. The furniture was given courtesy of Messrs. Carrol & Co., Sligo, and the costumes were by Gings of Dublin. At the conclusion of the play on Monday night, the audience was thanked by Mr. Paul O' Sullivan, who explained that the proceeds would go to the "Little Willie Fund".
Sligo Drama Circle's Great SuccessAll-Ireland Awards for "God's Gentry"from The Sligo Champion, May 2nd, 1959 Sligo Drama Circle scored a notable success at the All-Ireland Drama Festival which concluded in the Dean Crowe Memorial Theatre, Athlone. on Sunday night last, and for their presentation of Donagh Mc Donagh's three act verse play "God's Gentry" they won the Sportex Cup,, the open competition for three act plays, and also the Westmeath Independent Cup for verse plays. In addition, the production award in the competition for verse plays was won by Dr. Timothy Mc Keogh, producer of the Sligo Drama Circle, while a member of the company, Paddy Dooney, won a certificate of merit for outstanding performance in the role of John Melody in "God's Gentry".
And further honour was brought to Sligo by the Ballymote Dramatic Society which won the Broderick Cup for the best one act play presented by a rural group with their production of "Master Dudley". "Master Dudley" was produced by Rev. Fr. Higgins, C.C. Ballymote. Heartiest congratulations are extended to the producers and casts of "God's Gentry" and "Master Dudley" as well as to all those who were connected with the staging and presentation of the two prize-winning plays. Certainly by their success they have brought Sligo right into the limelight once again in the amateur drama movement in Ireland and brought off an unique success as being the representatives from the only county competing to win such a number of awards.
When the Sligo Drama Circle staged "God's Gentry" on Friday night before a packed audience they were described as "romping through" the play in what was most probably the most vital performance of the fortnight and indeed the most colourful. Commenting on Sligo's production of the Donagh Mc Donagh play - it was seen by the author - Mr. John Fernald congratulated the company heartily for a most enjoyable night. He said as far as the performance was concerned it had a "tremendous vitality for which I thank God. We have seen too many plays here without guts". He liked the play itself, and the words were a joy. A single quip so engagingly expressed should not be missed. He did miss some, he thought, but that was because he was not quite familiar with the dialect. Others he lost through lack of clarity.
Dealing with the set, he said the second act reminded him of the set used by the Moscow Arts Theatre for their setting of "Cherry Orchard". Some people would say it was very old fashioned. But it was very realistic and he thought it was just right for this play. The sky, however, at the back should be a little bit more realistic looking than the group had it. He had a few small points of criticism in his otherwise enthusiastic night. The Guards disappointed him because he thought they were such enjoyable characters in the script. Some of their "business" was a bit too clever and detracted from their lines. The play, he said, was basically a triumph for production. He would have liked to have seen better lighting and thought that the battle of the tinker women should have been more stylised.
While refusing to name any individual in the cast because of their all round team work, he did single out Paddy Dooney for giving the best performance of the night and Marks Mongan, played by Eddie Fitzpatrick, who flew back from Germany and motored with Maisie Mc Daniel from Dublin with the show's producer Timothy Mc Keogh. The grouping could have been better, he added. However, the acting all round was excellent and he had a most enjoyable evening.
Sligo Drama Circle Won at Ballyshannon Drama Festivalfrom The Sligo Champion, March 21st, 1959 Sligo Drama Circle won the Festival Cup for their production of "God's Gentry" at Ballyshannon Drama Festival and the Saimer Cup for Best Character Actor was awarded to Paddy Dooney, a member of the cast, for his performance as John Melody. In addition, three other members of the cast, Joe Mc Morrow, George O' Donnell and Andy Higgins, who played the three Gardai, were given special awards by the adjudicator, Mr. Tomás Mac Anna.
"The Sligo Drama Circle are dear old friends of mine. I am glad to renew acquaintance with them in Ballyshannon, and I hasten to congratulate them on an excellent production", said Mr. Tomás Mac Anna, adjudicator, after the presentation of "God's Gentry by Donagh Mc Donagh, before a crowded audience on Wednesday night of last week. "This play in one way is pantomimic and in another sense commingles fantasy and delicate loneliness with deep feeling between Betsy Connors (Marie Mulvihill) and Larry (Brian Bohan). It has foolery and comedy and it is a very difficult thing for a producer to take a direct line on production from beginning to end. He is faced with a big problem. Very often he had the straight line, particularly when he had tinkers. The were the most uproarious, frowsy, vowsy tinkers I have ever seen. It was a stimulating production and didn't flag from beginning to end. My criticism would be that the producer didn't give the right level; he didn't give full balance to the minor characters and did not dwell a lot on deep feeling and fantasy. He was good on the vowsy, flowsy tinker scenes, but could have contrasted it more right through. It is s difficult play to get a direct approach or line on. His groupings were fine, but once or twice I didn't quite agree with him, for instance at the end the tinkers were all grouped on one side, with the Gardai and Melody on the other. I felt that his balance was not done well here.
"I would have used the audience more too. as the Guards did, by jumping down into the auditorium with little pamphlets in the election, though Balor (Michael O' Rourke) did play to the audience a lot. There were some pauses, but they must be kept going from beginning to end in this type of play. It needs tremendous ingenuity and perhaps a revolving stage, which we haven't got in Ballyshannon, to link the quietness with rollicking fun in the other. The producer, however, did excellently sometimes, but on other occasions didn't quite get it. The business of stealing the watch from Melody in the first scene was a little far-fetched. He took too long to take it. Some of the business in the first act was a little bit laboured. However, I loved the setting. The wall at the back and the trees were fine. The producer could have mountains in the background and he handicapped himself by not having enough things on the stage, so that persons could jump up on barrels and other things at different levels.
"The costumes were magnificent. Where did you get them? I thought for a moment you had robbed the Abbey wardrobe after the fire. The make-up, which included the hands, legs, arms and face was very well done. Now acting. I have a lot of things to say about positioning, but I cannot detain you too long. The producer cut an act, and I will have a word with him about that. There was a scene which ended in a lovely line, and he cut it. The movements of the players were very well contrived, particularly in Act I. In Act II it was a bit static, and in Act III more static. The players should be kept moving. The point is, for instance, a little bit more could be done where people are singing. I know quite a bit about pantomimes in Dublin, and often in a song one doesn't want to be static. In the song between Larry and Betsy Connors where she walks by him with her head in the air, an illustration was needed with movement.
"Nora Melody (Monica Toher), I thought played very well in a difficult part. Throughout she was rent in twain between her college education and the tinker way of seeing life. At the beginning she should not entice Larry as much as she did. At the beginning I felt she was inclined to go with him too readily. We didn't quite get the contrast - one part pulling one way and another - the yielding. I got beautiful speaking and grand brightness with a tremendous enjoyment of the part. I would commend her very highly indeed. Marks Mongan (Eddie Fitzpatrick) did very well indeed. He spoke wonderfully well and maintained it throughout. He kept the tinker flavour in his speech from beginning to end except on one occasion when he was doing the Romeo act under the window. I heard the cultured voice then, but I accept him immediately, as he was very fine indeed. He must, however, get a little more reckless at the end.
"The last time I saw Paddy Dooney, who acted John Melody, he was in a terrible condition in his father's house, raging at a portrait, and I don't remember what I said about him, but tonight he was excellent. I am sure Mr. Dooney will agree with me when I say he had a lovely part, but his tremendous enthusiasm, his broadness of playing, and joy in it was grand. Mary Melody (Mary Mc Govern) had a thankless task, and I have every reason to commend her, because she was grand in the part. The point about Balor is that in the production in Dublin he looked like a certain man in Leinster House, and wore a light grey suit, Homburg hat and a light tie. I was not sure what kind of Balor we were going to get tonight, but as it happens, we didn't get that. The only thing I would say to him in his well spoken part is his appearance at the beginning. He was tremendously still, but we didn't get the tremendous voice from the grave. I would take him down from his tall perch and put him forward on the stage. It was a firm characterisation. I would ask the producer to dress him a little bit more. Overall he was brisk and clear and gave a most commendable performance.
"I would say at once that very rarely in the amateur theatre does one find a cast of such huge dimensions in which there was no-one weak from beginning to end. The three Guards (Joe Mc Morrow, George O' Donnell and Andy Higgins) with their horrid utterances, were really marvellous. If I had a medal to give I would pin it on all three of them, because I could not award a medal to one of them alone. Some of their utterances were splendid and their characterisations were grand. The Sergeant was fine, and the wonderful, doleful ould Guard I imagined, was a man who had fourteen kids. The other fellow, the one who was learning his career, was splendid, as were all three. It was terrific, and I was really pleased.
"I have never in my life, and I hope I never will, come across such a flowsy, vowsy and horribly spoken character of humanity as the king of the tinkers (Eddie Mc Dermotroe). He sang wonderfully well, conducted operations and was truly a king. He was a grand personality and did nothing wrong. It was a grand performance in a night of grand performances. Now we come to Larry (Brian Bohan), who had very fine feeling, but I thought that in his important scene with Betty, at the end he confused his character. This is a fault of the play. Larry was in fact a tongue tied tinker, but he did very well, though not showing in this love scene that the fine poetry coming to him was a surprise.
"In a night of fine performances I must mention the crowd, as everyone contributed something. The singer of the songs (Maisie Mc Daniel) had a wonderful song written specially for her. She did it very well and I commend her very highly. Mick (Eric Koss) was another singer who stood out from the general crowd. They had that moment and used it. They were well trained and rehearsed. It was a very rambustious, enjoyable, stormy night. It was full of grand things and the work done was immense, and my highest possible congratulations go to the producer. I would ask the players, too, to give a round of applause for a very fine audience who helped them out. We got far away from the usual kitchen table tonight. I am not against the kitchen scene, but in choosing this play the players were very courageous. They did it so well, however, that they made a niche for themselves in the amateur theatre in Ireland. I thank you for gracing the Ballyshannon Festival. The producer was Timothy Mc Keogh. Other tinkers were Mary Gilmartin, Noreen Patton, Deirdre Carroll, and Mary Lu Rafferty, Harry Langan, Jimmy Gilmartin, John Scanlon, Andy Barry (accordionist), Joan Burnside and Celia O' Donnell.
"God's Gentry" - A Critical Appreciationfrom The Sligo Champion, by Tadhg Glenanne, February 28th, 1959 The unusual either excites or disappoints, fascinates or repels. Frequently it does all these. "God's Gentry" by Donagh Mc Donagh which was presented by the Sligo Drama Circle is unusual, and it had in some measure, all these effects but in greatest measure it had fascination. From the beginning to the end of the play the action, language, and situations are truly fascinating. One leaves the theatre refreshed and delighted, amused and somewhat irritated, but more than anything else, satisfied that the frolic was well worth while. The play is as light as a wisp of summer cloud high over Croagh Partick and as gay in movement as a dancing stream down the side of Nephin. To present such lightness and movement, without losing any of their magic, is a difficult task and for the amateur producer a most formidable one. The Drama Circle's producer faced his task bravely and his production was, on the whole, highly successful.
It looked, when the play began, as if the stage were too small for all the swirling figures, but by good and pleasing grouping the producer overcame, to a large extent, the limitations placed on his large cast by the restricted space. The lighting shoed some lack of careful planning and imaginative treatment. It would have been much more sensible of Nora Melody to have lighted a candle in her room, for at least its rays would not have fallen onto the backdrop which was sky and mountain. They might have had some chance, if properly directed, of falling on the ground or of shining in the direction the window faced. It was more than strange too, that with the exception of a bit of darkening of the background, the light stayed constant during most of Acts I and II though many hours of evening elapsed. Certainly it was St. John's Eve, and it may have been bright 'till very late, but it would have added greatly to the production if dramatic lighting had been introduced here. Balor should, on arrival, surely have got the spotlight for a while. He deserved it anyway.
A very special word of praise to the producer for such wonderful tinkers' women. They were as tousled and gaudy a bevy as ever roamed a fair. They were gay and dangerous and Molly Ward set a splendid example of the best in tinkers' women's behaviour. Joan Burnside made Meg Ward a delightful tinker. She looked bewitching, acted very well and sang with captivating charm. Her performance in Act III was one of the highlights of the evening. Marie Mulvihill, as Betsy Connors, had what is really the only melodramatic part in the play and, having the audience's sympathy, she should have played on it more. She played the part with forceful intelligence but could have broadened the pathetic aspect of it. As father of many tinkers, Eddie Mc Dermottroe gave the necessary vigour to the part of Adolph. He appeared to have captured the full spirit of the frolic, as his gesturing seemed to invite the audience to participate in his wickedness.
The tinker band was good but their efforts were completely overshadowed by one of themselves. Brian Bohan as Larry gave one of the best performances of the evening. In a play where sincerity counted little, his reading of the part was truly sincere and he showed this in voce and gesture. One poor tinker lost his bearings completely. In Act III in particular his performance, unless it was the producer's fault, was like something out of "West Side Story" that had rambled into "Moulin Rouge" and got to Mayo little by little. Eddie Fitzpatrick, as Marks Mongan, was very good indeed. He looked like a tinker, moved like a tinker and most of the time spoke like a tinker. Occasionally in his scenes with Nora, his voice had a ring of genuine sincerity - not tinker sincerity - which was out of character. This was the only major flaw in what was the finest characterisation in the presentation.
The respectable Melody family were highly respectable and acted with the assurance and dignity hat became their station. Their daughter Nora (Monica Toher) gave a grand performance. She spoke well, moved gracefully and came down the ladder with the minimum of fuss. Perhaps the changes of accent of Sergeant Dethe (Joe Mc Morrow) were symbolical. They may have meant to convey how universal is the scope of the law in Ireland, stretching from Cork to Donegal! George O' Donnell as Guard Bansha, was very funny and said the little given to him with mournful humour. The music played by Andy Barry enlivened the action of the production.
Sligo Drama Circle in "God's Gentry"from The Sligo Champion, by a Special Representative, February 21st, 1959 The day is long gone when Sligo audiences first began to sit up and take notice of the fact that acting is an art which, in this town, could never be deprived of nourishment. This belief was only too clearly brought forcibly home to us this week when the Sligo Drama Circle staged Donagh Mc Donagh's "God's Gentry" in the Town Hall. The experience and talents of the actors and actresses were richly blended throughout with the result that the production lacked nothing as far as entertainment was concerned. Admittedly, this type of play might not be everybody's cup of tea, but when Paddy Dooney thanked the audience on Tuesday night he remarked that this was the first occasion that a play in such a medium had been staged in Sligo and that, from the warm manner in which it had been received, he got the impression that everyone thoroughly enjoyed it. IN both instances, Mr. Dooney painted a true picture.
For the producer, Dr. Timothy Mc Keogh, there were no guiding precedents. He could not look back on other years for his inspiration - an inspiration that can do so much to strengthen one's confidence - as he was well aware of the fact that as long as producers have been endeavouring to stage top-class presentations in the town, nothing quite like this had ever been attempted. Mindful of this fact, the members of the cast and the producer must take full honours for a delightful and highly entertaining show.
The scene was that of a little Mayo village of Knockderry and the story dealt with the lives of the tinkers who frequented the village. The tinkers were, however, seemingly good-natured fellows. Their motto was to eat, drink and be merry and seldom was a second thought given to the accrual of wealth or property. On the other side of the fence was a wealthy publican with his meek and timid wife. Their daughter assumed the role of the devil-may-care female of the present day while her actions were usually unbecoming and highly irrational. The two classes were thrown together and in their proper perspective the scene was just as one might imagine it.
The transformation, however, brought different results, The tinkers were given powers which they had hitherto enjoyed while the publican, his wife and daughter were reduced to nothing. If ever before, here was a case in which the relationship between the wealthy and the poor was clearly portrayed and the results truly emphasised. One might even go so far as to describe it as a study in psychology. Although the tinkers did not show it, their minds were working overtime. Here they were, hurled into a world which was completely new to them. That they misused their privileges was no secret and no surprise. They were out of place and they knew it. The publican, too was out of place but he adapted himself to the conditions and was content to bide his time. Here was a man with an educated mind who could see what the future would bring and, in the end, his wishes won through and his predictions bore fruit. The story revolved around these two classes and the other characters worked immensely to strengthen the performance and buoy up the overall presentation.
The play departed from the orthodox fashion in that the singing and dancing of the tinkers had the effect of turning the play into a light opera. The only difference of course was that the songs were all Irish Ballads with words to suit the occasion. John Melody, the publican, was played by Paddy Dooney who, in past years, has given so many memorable performances. His experience held sway from the start and as the miserly person who stored his money in the safe, all the angels in heaven to guard it, he was an interesting character. As the man who realised that life was passing him by and that he was not making the most of it, he was a kind and loveable creature. At times scheming and cunning, the manner in which he strutted calmly across the stage was undeniably in the very best interests of amateur showmanship. Although he had to bow to the way of the tinker, he remained inflexibly antagonistic towards them to the very end. His peculiar use of adjectives and pronouns added to his behaviour and demeanour.
Manks Mongan, the tinker who won the heart of John Melody's daughter, Nora, was played by Eddie Fitzpatrick. Eddie is a new asset to the Drama Circle and, from all appearances, a very valuable one. There was only one thought immured in his mind and that was to carry off Nora Melody and he succeeded in doing this with the aid of his soft talk and ever-present charm. This charm was transferred from the character to the individual and his nonchalant style of acting won not only the heart of Nora Melody but of the entire audience.
Monica Toher, as Nora Melody, was torn between the love she had for her father and the love Marks Mongan had for her. It did not take her long to discover that her place was with her father and with her own type. The omnipotent rule of the tinkers even failed to separate her from her father although she could have ruled the tinker camp. She did defer her decision for a year but was quite sure that the ephemeral happiness she found with Marks could never satisfy her. Her acting was always sincere and never artificial. Her facial expressions and stage presence were two of her outstanding features.
The part of Mary Melody, wife of John Melody, was taken by Mary Mc Govern and she instilled into her role that simplicity which makes this character so likeable. She never seemed to quite realise what was going on and took things just as they came. She was not perturbed by the looting of the shop or the flight of her daughter and one could sense this easiness in her voice. Her often untimely remarks set the audience at ease and in the end her soft manner won through. Within the tinkers' camp the belief that all's fair in love and war was prevalent. Betsy Connors, played by Marie Mulvihill, fell in love with Manks Mongan but was jilted when the latter looked further afield. Her fiery and impetuous portrayal was thoroughly convincing. As the pert maiden who had been sadly let down, her actions never fell short of what one would expect from such a character, while her saucy and impudent remarks added to the comical side of the story.
Larry Ward, who finally won he heart of Betsy Connors, was played by Brian Bohan. As before, here was a young actor who lived the part. He approached the heart-broken but defiant Betsy with the utmost diffidence and by kind words and actions won her over. A well-balanced and commendable performance. Eddie McDermottroe took the part of Adolph who was, perhaps, the leader of the tinkers. It would be difficult to really set down the impression which was his dress, make up and, most important of all, his skill as an actor brought home to us. His loud laughter and boisterous singing did much to depict the true picture of the tinker camp. The strong arm of the law was represented by Joe Mc Morrow as Sergeant Dethe and George O' Donnell as Guard Bansha. Both were hilariously funny and as usual the characters managed to get the usual "cracks" at the Garda Siochána. Although the parts were relatively small, the two who have been long connected with dramatic entertainment, acquitted themselves in masterly fashion.
Other parts were played by Aiden Ballantyne, a strong-minded Petronious Ward; Celia O' Donnell, a quite, but nevertheless joyful Molly Ward; Joan Burnside, a musical Meg Ward; Jimmy Gilmartin, a firm Mogue Ward; Eric Koss, an agile and at times ferocious Mick; Maisie McDaniel, a heart-warming Maisie and Andy Barry, a tuneful accordionist. The part of Balor of the Evil Eye was filled by Michael O' Rourke who did his piece with all the necessary cunning and craft of a devil. Recalled from the days of St. Patrick he granted the wishes of the tinkers but fell out of favour when he proposed they should work for their living. The remaining tinkers, without whom the play could never have been a success, were Mary Gilmartin, Noreen Patton, Deirdre Carroll, Mary Lu Rafferty, Harry Langan and John Scanlon.
A word of praise and congratulations to the producer Dr. Mc Keogh who handled the production end tactfully. There were so many scenes in which things might have got out of hand but they were allowed to go just so far and no more. The Marist Brothers' Céili Band who supplied the music are also to be sincerely thanked. Settings - Joe Burns; Stage Manager - Una Lappin; Make-up - Monica Toher and Marie Mulvihill; Lighting - Dermot Murphy and heating by J. Meldrum and Sons Ltd., Sligo. The proceeds will go to the F.C.A Welfare Fund.
The Money Doesn't Matterfrom The Sligo Champion, March 1st, 1958 How often have we heard the saying - "Money isn't everything". Perhaps some of us believe this old proverb while others laugh it off as an excuse repeatedly offered by those who never had any money to squander lavishly. However, the whole question had an airing in the Town Hall, Sligo on Sunday, Monday, Tuesday and Wednesday nights last when Sligo Drama Circle presented "The Money Doesn't Matter". This three act play touched on all aspects of the money question and the author Louis D'Alton used his characters as you might use ten ordinary persons chosen at random from a crowd as each player seemed to have his or her own views on the subject.
Although the word money was to be the password or the adopted code throughout, the play had many other attractive aspects. At times, it was ludicrously funny, but it was always interwoven with sorrow, a sorrow which, in one sense, held our attraction from the start. Had not another subject, other than money, been involved, the play would have lacked the over-powering appeal which was so evident. It was luminously clear from the start that encompassed in this circle of drama were actors and actresses all of whom gave sincere performances. The finished product bore this out. The lighting and settings all added to make the presentation one to be remembered.
The story was set in the breakfast room at Knockderry House, home of widower Tom Mannion. He had fought his way up the ladder the hard way, and was now one of the wealthiest men in his home town - a man who lived for money, a man who saw everything through a "web of gold". His idea was to give his family the things in life which he did not get himself, and although this idea worked out to some small degree, it could never really succeed. One of his daughters, Norah, wanted to join a religious order, but from the start her father was against the idea. It was not until the closing minutes that he gave his consent. The second daughter, Veronica, had a character which had very little resemblance to that of her sister's. She married a worthless young fellow who, although he was a skilled young tradesman, could never hold a job. Consequently, Veronica was always in need of money which her father was very reluctant to part with.
Of the two sons, Harvey seemed to have won the confidence and trust of his father. He became a successful businessman but was killed in a motoring accident at an early stage of the play. Enter the black sheep of the family - Philip Mannion who immediately returned from London to "comfort" his father in his hour of need. Of all the family, he alone was the Number 1 spendthrift. His father had hopes that his son might become a composer and had wasted a considerable amount of money on him to achieve this end. However, Philip had other ideas. His emotions were governed by drink to the extent that his father could not even trust his son with the train fare back to London for fear the "musician" would retire to the public house on the corner and drink all the money as he had done on so many occasions before.
However, it was one of the persons who had very little to do with the plot who did that little bit extra to capture our attention. As the man who was gardener cum message boy, Paddy Dooney as Mick Kenirons, or simply Kenirons as he was known to everyone in the household, excelled. His characterisation of a man who was always willing to give a lucid description of any one event but who was never behind the door when the occasion arose for making an extra few shillings left nothing to be desired. All he wanted in life was "enough and a little biteen left over". Playing the part of Philip Mannion the "musician", Michael O' Rourke added considerably to the mirthful end of the play. He had his own ideas on how to spend money - his father's money. He also had his own ideas about the various stages of drunkenness. The idea that the money didn't matter was heresy as far as he was concerned. A person always needed something for support, was his motto and he could never have been more correct than in the closing scene when he returned home for a second time. He certainly needed support then.
As the stern father, Joe Mc Morrow did everything that could be expected of a character of this description. The idea of his daughter becoming a nun came as an unsavoury shock to him and the force and anger he instilled into each phrase bore this home unquestionably to he audience. His refusal to give his permission was incessant as through and through he was a businessman who always felt happy for days after making a good deal. In many ways he was selfish but he won the respect and admiration of everyone. Josephine Lappin, as Norah Mannion the girl who would not countenance her father's wish that she should stay in the house to comfort, played her part with a feeling of self-assurance and over-brimming sincerity. To her, money meant nothing as she knew in her heart that she must disobey the austere command of her father in order to follow her vocation. Here was a difficult part, simplified by the warm honesty of a true actress.
The part of Ellen Kinchella, the house maid, was taken by Tecie Mullen, who was unremitting in her efforts to please her employer, Tom Mannion. She learned a lesson or two in human perfidy and folly when she lent money to various members of the Mannion household. The part was played exceedingly well and she acquitted herself with tact as there was nothing to overshadow the versatility of her acting. One had to pity Father Maher, played by Joe Mc Donagh, as he had to reason with Tom Mannion when he was looking for money for a new school and again when he was interceding between Norah and her inimical father. His policy, when dealing with men like Mannion, was to appeal to their lower instincts as it would be futile appealing to their better instincts. His quiet and over-powering nature, excellently played by Mr. Mc Donagh, endeared him to the hearts of all.
Marie Mulvihill, as the devil-may-care Veronica, sought the sanctuary of Knockderry House for one reason - to partake of her father's riches. Se feigned sickness in order to stay at home but her father was never deceived. However, he did give in in the end, when he discovered his daughter had, in her own small way, some latent talents. Marie Mulvihill was the ideal selection for this part and she filled it with imagination. Her characterisation of the frenzied young lady who became suddenly ill will especially be remembered as a highlight. In smaller parts were cast Timothy Mc Keogh as Harvey Mannion, the ambitious son who was killed in the motor accident; Michael ó Dálaigh as Michael Harney who was engaged by Tom Mannion to marry his daughter and George O' Donnell, as Robert Murtagh, the retiring businessman who intended to settle down and live ten or fifteen remaining years of his life in luxury. All three were well suited to their parts and played them as they should be played. The horse trainer, Michael Harney, who thought he should not get married for at least another ten years, quickly changed his mind when he heard that Tom Mannion was giving a dowry of seven thousand pounds with his daughter. Well, he did try hard to win Norah's hand but - the money didn't matter.
The play was directed by Mr J. P. Mc Garry who is to be complimented on its success. The stage staff consisted of Messrs. Ted Morrissey, Michael Clancy, Andrew Higgins and Tony Foley. Make-up man was Mr. Jim Hughes and Miss Breege Butler played the music.
Successful Debut of Sligo Drama Circlefrom The Sligo Champion, November 24th, 1956 The debut of a new actor or actress ..... the first ever presentation of a much publicised and eagerly awaited play ...... the introduction of a unique plan for background layout ...... these are some of the occasions which add spice and interest to the world of theatre. But how much more exciting and intriguing is the first appearance of an entirely new drama group, the members of which have been "limbering up" behind the scenes for several months in the knowledge that in their performances in just one play may depend the future success or failure of the unit.
How true that it was proved on Sunday, Monday Tuesday and Wednesday Nights last when enthusiastic audiences filled Sligo Town Hall to see the Sligo Drama Circle make its first bow in Gerard Healy's "Thy Dear Father". For a first performance the choice of play inevitably presents many difficulties. Pick a work too complex or opaque and the group courts possible disaster. On the other hand, select something too simple and you do not leave your audience with much to remember you by. I am glad, indeed, to be in a position to record that whoever chose "Thy Dear Father" for the Sligo Drama Circle did a good job. They succeeded in steering a middle course between the two aforementioned extremes and they set their actors and actresses a stiff test which all passed with colours flying. One would, of course be justified in calling "Thy Dear Father" a tragedy. Its story of a human failure whose every moment is haunted by hate and fear for a hypocritical father long since dead would be distinctly oppressive were it not laced with a ready dash of wit. Its subject matter is by no means easy to present on the stage and accordingly, the path to eventual success is strewn with a host of pitfalls for the unwary.
But who would dare label the Sligo Drama Circle unwary? The leading members of the cast had already made their names and nobody among them lacked experience, least of all the man around whose ability so much hinged - actor Patrick Dooney. While with the Unknown Players, Paddy Dooney turned in a series of really wonderful characterisations but I think it is true to say that never is he more effective than when his part borders on the macabre. In "Arsenic and Old Lace" he stole the show with his performance as a maniacal killer and in "Thy Dear Father" he added another string to his bow as Jack Dooley, the brooding business failure whose mind eventually slips into insanity. Mr Dooney's part offered limitless room for misinterpretation since his dialogue for the most part was sparse and he was called upon to spend long periods away from his colleagues just gazing into space with the vacant frown of a man who is not merely worried, but bewildered.
Mr Dooney's performance was gripping throughout and the third act was unmistakeably his. Even when the others were speaking and he was silent he held the stage and the attention of the audience. And in those last few suspense-wracked moments he brought us a study in impending insanity that was, at times, almost too real for comfort. To Josephine Lappin too, must go a large share of the credit. As Jack's fiancée, she was trusted with the next most difficult role but she played Eileen Walsh with moving sincerity and an understanding that could only have been born of study and imagination. I have seen her act on more than one occasion in the past, but, quite frankly, I have never seen her better. Adelaide Hay invested the role of the nagging, over-religious Mrs. Dooley with a depth that made the part always wholly acceptable. She fussed, stormed and entreated as the script demanded but she was never guilty of over-dramatising.
As Father Michael Dooley, Eddie Mc Dermottroe was suitably upright and correct; Mulvihill made a sufficiently witty Anna; and Joe Mc Morrow, whose pleasure it was to deliver some of the most riotous lines in the play, again demonstrated his flair for character acting. In smaller roles, George Molloy, Sadie Maguire and Mary Mc Govern were all most impressive. The bouquets would not be complete without mention of the producer, Walter Mc Donagh, himself an actor of note, who has every reason to be delighted with the way in which his work was received. At the end of each performance, Joe Mc Morrow thanked audiences for their attendance on behalf of Very Rev T. Hanley, Adm., St. Mary's. The play was staged in aid of the St. Anne's Building Fund. A special performance of "Thy Dear Father" will be staged in the Town Hall on tonight (Friday) in aid of the Hungarian Relief Fund.
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