Galway's Early Association with the Theatre

By C. Townley

Strolling Players

While theatrical performances, as we understand the term today, were given in Ireland from as early as the beginning of the 15th century, it is not until about the middle of the 18th century that Galway appears to come up for notice. Licensed companies began to fan out from Dublin to places like Kilkenny, Wexford and Youghal and other eastern and southern towns. By all accounts those early players were a reckless and irresponsible lot and not over-given to the virtue of civic spirit. In the records books of the Corporation of Youghall there is an entry on the 16 February, 1619-20:

"William Durant, glazier, was admitted to his freedom, on condition of his glazing the Tholsel, fitting the windows with iron bars, newly painting the King's Arms, washing the walls of the court with Spanish white. Except at such times when the Mayor may give permission to the Players to Occupy the House and they break the battered windows."

In 1635 this same Corporation ruled that

"... no Mayor or Bayliffes shall give license to stage players or any other of that kind to make use of the Town Hall and ..."

These strolling players came to be regarded as an essential feature of all festive gatherings. Their presence was usually sponsored by some local Lord or important official; all performances of course, being directed at the time to the intellectuality of the classical vintage. The early Classical tragedy of Gorboduc was done at the Castle in Dublin in 1601, the charge for admission being "one and twenty shillings and two Groats." Nevertheless, the works of Shakespeare were not performed within the country during the poet's lifetime, or in fact, until many years after his death.

Galway Theatre in the Eighteenth Century

From about 1700 onwards reliable groups like the crack permanent company at the Smock Alley, began to go on tour during the summer months. Drogheda, Kilkenny, Belfast, Cork, &c., were visited. There is no mention of Galway, until 1742 we read that:

"the famous Jemmy Whiteley, having made some rapid progress (in Dublin theatrical circles) left suddenly to join the widow Parker and her company in Galway. On receipt of her offer of first cast parts he left for the renowned capital of Connaught at that time notorious throughout the whole kingdom for being the local residence of the 13 families, particularly dreaded by their peaceable neighbours on account of their ferocity and implacable resentment of every supposed affront which nothing but death of the devoted victim of their ruthless animosity could in any shape atone for. But it is with infinite pleasure I am able to certify, that on some examples being made of many of the toughest branches of the 13 distinguished families of the salutary laws of their injured bleeding country the whole province is in a fair way of following the examples of their praise worthy neighbours of Ulster."

Whiteley's first appearance was in "Cure for a Scold " adopted from Shakespeare's Taming of the Shrew, and Christopher Bullock's Cobler of Preston, made into a ballad farce. He had, we are told a "good and pleasing voice." Soon a strong friendship developed between the widow and her leading man, and there was little surprise among the other members of the company when their marriage announcement was made; she being 26 and he 18. But soon dissentions crept in, players deserted, and in a short while, due to low numbers and poor receipts Whiteley and his bride bade adieu to Galway and travelled to Carlow, where he related, he "lived many days (though a manager) on bread and buttermilk." Among their players at Galway was Mr. William Hovard, later of Drury Lane Theatre, London.

The later history of James Augustus Whiteley is interesting, for having sold most of his theatrical wardrobe - the only realisable asset of the 18th century actor - in Waterford he left with his bride for Liverpool to pursue the business of theatrical management. So successful were his efforts that within a short time the English towns of Manchester, Wolverhampton, Doncaster and many others were acclaiming his genius. Before coming to Galway this colourful personality was in receipt of an actor's salary of seven shillings a week.

Performances in the 18th century

It is not quite clear as to where exactly these early performances were given. From the middle of the 18th century onwards travelling companies visited the town at fairly regular intervals, in the course of their tours of the principal towns of Ireland. The practice then, as now, was to tour the provinces in Summer. In addition individual actors of repute paid special visits. It is established that in 1765 the Irish comedian, Thomas Ryder, brought his company to the town. Included among the players was John O' Keefe, poet and author of many successful plays. In places where suitable halls or rooms were not available it was usual to hold the performances in whatever private accommodation might be made available by resident well-wishers of the art; though as often as not, barns, sheds, stables and derelict buildings were the playhouses of the day.

The audience for the greater part consisted of the hard living aristocratic gentry, the members of the legal profession and the army. Much ceremony attended each performance and criticism was severe. There was no short-cut to fame in those days. The round of the provinces had to be made, and more often than not under the most gruelling conditions. Some players served an apprenticeship of as much as 20 years before attaining distinction. An afternoon's performance would consist of at least two or three full-length pieces, e.g. an opera, a tragedy and a farce. So one player on tour had to play many parts. It was usual to have a fortnight run of plays during the periods of the assizes in Galway with a change of programme every second or third night. Everything from Shakespeare to popular comedy was played. Hamlet and the Merchant of Venice were highly popular with our 18th century audiences. And a player who had an established reputation in a particular part was always held in the highest esteem. In between visits which he made with his company to Garrick in Drury Lane, Mr. Ryder and company performed in Galway on several occasions between 1765 and 1771. His repertoire included Trueborn Scotsman, The Romp, 'Tis Well it is no Worse (comedy), Love a la Mode.

An outstanding actor of this period, both in England and Ireland, was the eccentric Henry Mossop who was born in Tuam in 1729. This unusual character rose to the top of his profession in an exceptionally short time, and like all celebrities, was not unmindful of his artistic capabilities. But he underestimated the perseverance of managers like Garrick, who turned him down because of his unreliability in fulfilling engagements. He protested strongly against this attitude to one of the profession by fellow-members and in order to further substantiate his point of view, he went on hunger strike and died at his lodgings at Chelsea. Hardiman, the Galway historian, records his having performed in the town. Following the visit to the town of the former Smock Alley actor, LEstrange in September 1774, the following Prologue is reported as having been spoken by him on the eve of his departure to take up an engagement in Covent Garden.

"To be or not to be? - ay, there's the pause
The grand decision of my tender cause
Allured by interests and by promises bound,
Your grateful Servant visits British ground;
A lasting surety hurries him away,
While heartfelt gratitude would have him stay,
Oft thro' his breast in quick successive roll,
Those leading passions that afflict his soul,
Each in its turn demands my candid ear,
And there alternate pleadings, I must hear,
First your benevolence with silver tongue
Sweet as the Muses's Lyre, when newly strung,
Proclaims the vast, vast debt I owe to all,
And charms my ears from every other call,
Pleased with those dulcet accents I remain,
Wrapped in Lethargic state till roused by gain.
Stentorian lungs assist her loud dispute,
And point out fortune, certainly repute,
She marks the future settlement and ease
Which never fails the lab'ring mind to please
At length the tender struggle's at an end
And reason tells me fortune is my friend.
It my weak efforts then in any parts
Have happily reached the feelings of your heart
If the tear followed when I was distressed,
My ends obtained and all my fears at rest
For all your favours, take what I've to give.
While in my memory they shall ever live
A sigh of tribute from a grateful heart
Compelled to go; unwilling to Depart.
May Galway ever, as for Beauty fam'd
The seat of Arts and Elegance, be named
While all like me who visit this kind land
Proclaim the bounty of your fost'ring hand,
Taste and true virtue in one's soul you blend,
The actor's patron and the stranger's friend."

A valuable reminder of those early theatrical ventures in the town of Galway is a play-bill which was in the possession of the late Mr. Philip O' Gorman, Galway, and an actual facsimile of which is reproduced overleaf.

Kirwan's Lane Theatre

In addition to establishing the fact of the existence of a permanent theatre in the city at this date, the playbill also contributes ample evidence that Galway was beginning to move in line with Kilkenny, Cork, Limerick, Drogheda and many other provincial towns, by fostering the growth of amateur theatricals. It is difficult to place the actual site of this theatre, but from the information available it is highly probable that its location was at the lower end of the Cross Street entrance to Kirwan's Lane, with its entrance facing the side wall of the Old Dominican Convent. It was in this same year that Mr. Richard Martin, M.P., more widely know as "Humanity Dick " of Ballinahinch castle and lately called to the Irish bar, began his practice on the Connacht circuit. His first wife, Elizabeth Varey, acknowledged some pretensions towards the histrionic art. It was with a view to enabling her to exercise her latent talents that Martin took a short lease of a building in Kirwan's Lane and had it suitably altered and converted into a theatre.

A previous writer on this subject is inclined to the belief that Martin's theatre and the structure in Kirwan's lane were separate establishments. The present contributor thinks this to be an unlikely possibility. Martin himself was Colonel of the county volunteers and he is the Colonel Martin mentioned in the cast of the two plays. The fashionable practice of sitting on the stage is to be noted and the fact that no hoops were to be worn meant that a larger number could be accommodated. It was not usual at this time for ladies to sit in that part of any theatre known as the 'pit'.

The name of Mr. Owsenson is of more than usual interest. He was father of Lady Morgan, author of many well known novels. He was born in Sligo and in his early years was taken under the patronage of Mr. Blake of Ardfry. Mr. Blake brought him to Dublin and thence to London where he had him taught music by the best music masters available. Later he struck up an acquaintance with Goldsmith and was introduced to Garrick, who gave him some parts to act. Later still, in Dublin he was made a share-holder and deputy manager of the Theatre Royale in Crowe Street. On the invitation of the Marquis of Ormond and some other neighbouring young lords he organised the building of a theatre in Kilkenny. He organised theatres in many other places, including Limerick, Coleraine, Innis-Killen. He was also successful as an actor and received the personal thanks of Sheridan for his playing of Sir Lucius O' Trigger. It is likely that his presence in Galway was directly connected with the establishment of the Kirwan's Lane venture. There were times too when, due to awkward financial upheavals, he was obliged to quit the limelight and avail of the hospitality of more trusting friends. His visit to Galway appears to be uneventful. It is not certain how long he stayed, but at least he paved the way along solid lines for greater efforts. The remainder of the cast of this play bill consists of members of well-known county families and officers from the local garrison.

During the May Assizes week, 1786, 'Rowe's famous tragedy of the "The Fair Penitent " was produced, and one Lieutenant Legard played Horatio and Mrs. Richard Martin Callista.' Evidently, this little theatre was a success from the very beginning. In 1792 we read that:

"great improvements are being carried by the then proprietor, Mr. McCartney. Part of the House has been unroofed and the walls risen near 7 feet for the purpose of building a regular Gallery, and an elegant circular set of Boxes, new Pit, and higher Stage, with proper accesses to each place, etc."

Previous to this there was seating accommodation for no more than 100 persons. The opening performance in the newly reconstructed theatre took place on August 16, 1792. The local press announcement reads:

"(13 August 1792). Mrs.Garvey's Night. On Wednesday next, Aug. 16th, will be performed the Comedy of the Country Girl with (by very particular Desire) the Entertainment of The Romp; or A Cure for the Spleen. Tickets to be had of Mrs. Garvey, at Mr. Finn's shoemaker, Middle Street."

Regular performances were given throughout the remainder of the year and likewise in the following year by different professional groups. One announcement adds - "'Tis requested that Ladies and Gentlemen will send servants to keep their places in the boxes, as there is no other mode of securing them." It seems to have been a practice with the amateurs to engage the services of an occasional professional. For on October 22, 1792 the Tragedy of Percy, Earl of Northumberland was staged; the principal characters by gentlemen of the Town and Neighbourhood; and the part of Elwina by Mrs. Garvey. The Theatrical announcements as printed in the Connaught Journal for the years 1792 and 1793 are included in an article by the late R.J. Kelly which he contributed to Vol. Xliv. 1914, of the Journal of the Royal Society of Antiquaries of Ireland. These announcements are exceptionally interesting and afford ample evidence of the type of play that was in popular demand at the time. The names of many of the artists were familiar to Dublin and London audiences.

It may not be amiss to recall that on January 11th, 1792 a grand miscellaneous concert is announced to be held at the Longroom, Mitre Inn, Tuam. Performers in the band included several from the 40th Regiment quartered at Galway. After the concert a Ball. Tickets 5s. 5d each, to be had at Mrs Bradley's Post Office, Tuam.

. Among the players who enjoyed popularity in the town around the turn of the century was the Dublin tragedian, Warde, an exmilitary officer. The following lines from "Familiar Epistles to H----H---, Esq.," pub. Dublin, 1821, tilt at the nature of his many visits:

"The Captain, then, despising dangers Moves Westward with the Connaught Rangers! And from his lofty state descends To entertain his Galway friends. Forsakes the poison'd bowl and dagger, In comedy to strut and swagger; And (sure it cant be called a crime) To sport in Farce and Pantomine! In heroes, lovers, clowns and fops Ballets, Quadrilles, or "Simple Hops " In which he capers with agility To show his wonderous versatility! So that, what ever be your plan, You'll find him still a useful man!"

"When the old Fishamble Street Theatre in Dublin reopened its doors in 1809, a new satirical piece dealing with current theatrical affairs and called, "The Sock and Buskin " was performed there by way of prelude. As all the allusions seemed based on actuality, notice may be taken of some gentle girding at the weaknesses of Galway playgoers. Claptrap, an actor and poet, is introduced as late of "The Galway Theatre," "'I always make it a rule,' he says, 'to assist my author with my own jokes. I am the person who, perhaps, you have heard prepared the play of Pizarro for representation at the theatre in Galway. I altered it, Sir, in such a manner as to heap all the original abuse of the Spaniards upon the plundering Gauls and gave the Spanish Nation the lavish praises of the Peruvians.' Asked by Sinecure, what was the necessity to make such an extraordinary alteration in Sheridan's play, Claptrap replies 'I'll tell you, Sir, The Western inhabitants of Ireland, as everybody knows, pride themselves upon their Spanish blood!'"

Thomas Huddart, a Shakespearian actor of distinction was here in 1809. Four years later we read of his being selected to play Shylock at Drury Lane, in preference to the great Edmund Keane. Another top-ranking star of the day was Miss Wallstein who in 1813, fulfilled a nine nights engagement and "on her benefit night she played Belridera in 'Venice Preserved', and Mrs. Kitty in 'High Lief Below Stars'."

During the last week of August 1816, the celebrated Charles Macready, then at the beginning of his career, played the part of Octavian in George Colman's "The Mountaineers " and that of Bertram in Charles R. Maturin's tragedy of that name, at the theatre. His next engagement was at Covent Garden, London, where he made his debut as Orestes on the 16th September the same year. As a result of a performance of Morton's comedy, Speed the Plough, and a farce, the Irishman in London, in the theatre on Monday July 7th, 1817, the proceeds which amounted to 26 2s. 4d. were given for the relief of the distressed poor in the town. The characters were by "Gentlemen of the Town and Garrison." In February of the same year the comedy, "The Heir at Law " and a farce "Raising the Wind " were performed for a similar charitable purpose. In the press notice we read:

"... The House was crowded at an early hour by a most brilliant assemblage of Beauty and Fashion .... The entertainments were marked by Ease, Elegance and Point. No amateurs - no, nor even the 'Sons of Thespis' ever manifested stronger proofs of merit than fell under our observation on that night....."

The sum donated on this occasion was 30. it was further announced that the entire house would be at Box price for a performance on 14th April, 1817, of Sheridan's 'The Rivals' and the musical entertainment of 'The Poor Soldier'. The characters by gentlemen of the town, and the proceeds to be given in aid of the rebuilding of the Parish Chapel. The leading Irish comedian Webb, paid a week's visit in the course of a tour with his company during the year.

Hardiman, in his History of Galway refers to this theatre in Kirwan's Lane and names many of the leading players who visited Galway in the past. He regards the house as being confined and inconveniently situated. The scenery he considers elegant. He makes a strong appeal for a new theatre to be erected in a more central situation. Still, in 1828 we find that the citizens are:

"happy to learn that the famous manager and actor, Mr. Talbot has engaged the Galway Theatre and means to take down (from Dublin) a superior company for a few weeks. Mr. Talbot is assured of reaping a happy harvest in Galway - the town was never more crowded than at present, nor can be seen any period more calculated to forward the interest of dramatic representation."

"Some time after Hardiman wrote there was another theatre built in Lombard Street, on a site facing the old church of St. Nicholas. Its ruins, like the ruins of so many other things in Galway can still be seen (1914). It bore the pretentious name of the Galway Theatre Royal, and seems to have run its course for about fifty years."

(R. J. Kelly).

Authorities:-
Stockwell, La T.: Dublin Theatres and theatre customs, 1938.
Lewes, Chas Lee: Memoirs 1-4 1805.
Kelly, Michael: Reminiscences, 1-2 1826.
Morgan, Lady: Autobiography, diaries and correspondence, 1-2 1826.
Pollock, F. (ed): Macready's Reminiscences 1-2 1875.
Kavanagh, Peter: The Irish Theatre 1947.
Hardiman, J.: History of the Town and county of Galway, 1820.
Dictionary of National Biography.
Playfair G.: Edmund Keane, 1950.
Cambridge Bibliography of English Literature, 1-4 1940.
Kelly, R. J.: The Old Galway Theatres in J.R.S.A.I., Vol. Xliv, 1914.
Lawrence, W.J.: The Old Galway Theatre in Saturday Herald, 1907.