The Colleen Bawn Was Brilliant Tribute to Noted Stage Couple

The production this week of The Colleen Bawn as a tribute to Margaret and Charlie Hughes in the Gillooly Hall, Sligo, was certainly well timed. Sligo theatre-goers, starved of their favourite pastime for so long, were eager to see another Sligo production and the fact that it was designed as a compliment to two people whose names are honoured in Sligo made the occasion all the more enjoyable. In these circumstances it was not surprising that very big houses saw this colourful and light-hearted production and went away recalling the older days.

The play, as far as style and construction is concerned is now regarded as old-fashioned and rightly so. The plot is so weak and contrived that if written into a play nowadays it would be immediately condemned. The comic aspect depends entirely on the “stage Irishman” type of joke and what little drama is in the play itself depends on a situation which could never be described as realistic. For all its faults it found its way into the hearts of theatre audiences half a century ago and has remained in the hearts of some ever since.

As a link then, between the past and the present it was clearly appropriate that this was the play to present on this occasion and those people who decided to tackle it must forever have the admiration of those who saw it. Any producer who will take on the task of doing a play with twelve changes of scene is brave indeed and it is to the producer, Walter Mc Donagh in this case, that the greatest share of credit must go.

Walter Mc Donagh has tucked many a success on the stage under his belt by this time, but he can feel on this occasion that he has surpassed any previous triumph. To the burden of his scenery may be added a cast of seventeen, a musical score and a tradition which will never lose its place in the hearts of the people of Sligo.

The traditions of the Unknowns is something which is almost tangible. Anywhere Sligo actors and actresses gather you will eventually hear the name mentioned and with it will surely be coupled the names of Charlie and Margaret Hughes. A producer then who faces these problems deserves credit and the man who overcomes them deserves all the laurels which were heaped upon him by the various people who spoke after the show. The cast as a whole must also take their bow. Words were put into their mouths by the author which no-one in his sane senses could ever utter, nowadays at least, but despite having to cope with stage whispers, asides, extravagant gestures, and unbelievable situations they covered themselves with glory and made an enjoyable night’s entertainment possible for over two thousand people. The idea of introducing some well-loved songs into the play was a winner from the start, but were it not for the absolutely brilliant singing of the cast, this might not have added anything to the show.

In particular, it is only right that mention should be made of Kay Guinane’s lament as her son lay dying, and it was not surprising to see handkerchiefs making their appearance at this stage. Paddy Thornton made his brief appearance a very enjoyable one by the fine clarity of his voice and the rendering by Eddie Mc Dermottroe of Botheration was not any less than we have come to expect from this fine singer. Brian Bohan’s plaintive song had a similar effect as that of Kay Guinane, but Joan Fitzpatrick really surpassed herself with both her singing and acting. This was as fine a performance as we have seen on the Sligo stage for a long time.

Brian Bohan is an actor whose stock has soared in Sligo as a result of a number of well-judged performances, but his portrayal of the hunchback, Danny Mann, in this show has been his most outstanding triumph to date. He was admirable in all that he did and it is a tribute to him that he makes one look forward to his next performance. Eddie Mc Dermottroe really enjoyed himself in the part of Myles na Goppaleen . His rollicking and nicely shaded performance was what the audience wanted, and they after all are the real critics.

Joan Burnside has seldom been seen to better effect in a part and she looked and suggested the right choice for the role all through. It is unusual to get a performer who shows such competence in both acting and singing and her performance and that of the others who sang as well as acted made one wonder why it is that Sligo has not seen a light opera, apart from school productions, for so many years. Lack of talent is certainly not he reason. Kay Guinane is another versatile performer and she got the exact feeling of the aged mother protecting her young when required and at the same time showed herself a very able dealer with as sharp a tongue as Corrigan.

As well as these people, there were some familiar faces in the rest of the cast. Michael Feeney was, perhaps, the only member of the cast who was in the real old tradition of melodrama. Cringing voice, hang-dog look, quick “takes” and wild waving of arms were all in the best “Demon Barber” tradition. Vivian Francis has also become something of an old timer and his portrayal of the star-crossed lover was just right. Kitsy Dowling gave a very neat performance in the part of Anne Chute, a lady who seemed to be interested in matrimony and nothing else and as her contriving mother, Mary Mc Govern, gave us the same polished performance which she always gives.

Pádraig Foran as the Sagart Aroon was calm and a little out of the world at times, while at others he showed himself to be much more down to earth. The actor got the proper feeling into this part and gave a very convincing performance. One can but wonder how the author contrived to have him at hand at the most unusual times and again how he got rid of him when his usefulness to the plot was exhausted. As one of the suitors for Anne Chute’s hand, Michael Gunning was properly proper and he looked suitably out of place whenever the “wild Irish” were about. Seán O’ Neill being righteous where Michael Feeney was villainous gave a nicely rounded performance. One could not but admire the beauty of feature and dress of the beautiful ladies who attended the ball accompanied by their gallant beaux. Doreen Tracey, Mairéad Jennings and Eithne Tracey were the charming ladies and Dick Gleeson and Jim Mc Morrow their escorts. George Bowes and Pádraig Mc Sharry represented the ancient enemy in the form of Redcoats.

From what could be seen from the hall, Tom Palmer was a most capable Stage Manager and must have had a well-drilled army of assistants. Lighting was in the hands of Dermot Murphy; make-up artists were Marie Mulvihill, Monica Toher and Joe Burns; accompanist was Breedge Butler who also was co-Director of Music with Paddy Thornton. Costumes were supplied by Messrs. Bourke of Dublin. Sets were constructed by Paddy Boles from Walter Mc Donagh’s designs and special posters were executed by Kitty Hennessy and Bro. Columban.

After each show Charlie and Margaret Hughes were introduced to the audience and Margaret was presented with a bouquet. Charlie thanked the audience and all concerned with the production and said that Margaret and he would always cherish the wonderful tribute paid to them by those people who had associated themselves with the tribute by reason of their attendance at the play or their work in the production.

from The Sligo Champion, December 16th 1961