By Ger Cody
Photos: Martin Doyle
Back in the 1970’s, many of the amateur drama fraternity in Kilkenny began travelling to Gormanston College to attend the Amateur Drama League (ADL) Summer school.
The week long course enthused and engaged participants.
‘Improvisation’, ‘Mime’, and ‘Directing for the future’ were at the heart of the instruction.
Banished were outmoded amateur theatre concepts.
It no longer sufficed to just learn your lines and refrain from falling over the furniture.
Visualisation, depth and understanding were prerequisites when perusing a script. Dissecting the plot and discovering nuanced depth in the subplot was essential to overall presentation.
Memory of Sub Text
Michael Somers, a native of Coon, was not in attendance at that time of discovery.
It would have been difficult as he wasn’t yet born.
However, about fifteen minutes into ‘The Steward of Christendom’ performed by the Carlow Little Theatre Society, and directed by Somers, I was reminded of those drama classes from the ‘70’s as the audience was introduced to what is best described as sub text of an intriguing script..
Mark Twain who, in his 1889 “A Connecticut Yankee in King Arthur’s Court” used the phrase “She was wise, subtle, and knew more than one way to skin a cat.”
Such was the case with Somers and his attempt at learning about various feline antics.
He may not have attended Gormanston, but he learned from those fortunate enough to do so.
Three wise men-Seamus O’Rourke, Laz Costelloe and Michael Casey- all unfortunately departed – were synonymous not only with acting but the importance of giving it your best, and then some more.
Costelloe and O’Rourke were affiliated to the Carlow Little Theatre society while Casey, with Cork roots had set up home in Kilkenny and founded the Kats drama group.
All three were highly respected attendees at the Meath College.
These were the calibre of people that the man from Coon worked with and from whom he learned.
Influence played a part
He graciously acknowledges the influence of Sinead Hackett who instilled in him that ‘theatre can be created with both observation and imagination, and to never be afraid of delivering aspects the writer may not see in their work’.
The forestry Department officer used that by the bucket load with the production at the George Bernard Shaw Theatre.
Written by Sebastian Barry ‘The Steward’ is above all a memory play. A script that presents the main actor Thomas Dunne with loyalties that are at best mixed and indeed confusing.
According to the script, Dunne was ‘chief superintendent of the Dublin Metropolitan police until 1922.
A loyal servant of the British Crown, he was considered a traitor – a “Castle Catholic” – in the wake of Irish independence.
When we meet Dunne, played superbly by Paul McManus, he is an old man in an asylum, grieving his many losses and haunted by memories of his son, killed in the First World War.
The first act, powerful and meaty was taxing with diverse scenarios being presented over its ninety minute duration.
Act two, seemed to shine more light on the script and this allowed the audience to experience many conflicting emotions.
Sadness, hurt, love, betrayal, and brutality.
Forgiveness was at core
Above all, resonating throughout, was forgiveness of others and oneself.
Michael Somers is to be congratulated on his inspired direction and understanding of this complex script.
He deserves kudos for including the extra members of the ensemble, that helped paint a picture to complement Barry’s sometimes wordy script.
It will be some time before such a powerful play will be staged again.
Somers can be proud that his insightfulness has set very high standards not just in Carlow theatre but countrywide.
The performance of Paul McManus was immense. His control of mood swings, physicality on stage, and his ability to hold an audience for such a long duration was brilliant.
His final scene with his son Willie, played with great sensitivity by Kevin Tynan was a highlight.
McManus is not an actor I know well, but one could tell he threw body and soul into the part. Class oozed from his performance.
The casting was excellent and credit to Richard Duffy, Georgina Brennan-Stynes, Joe Hayden, Kevin Tynan, Michelle Phelan, Emer Peet Niamh Deay and Julian Jully.
The ensemble included: Harry Shorthose, Feargal Ward, Hugh Keenan, Lily Mae O’Brien, Colin Clifford, Kate O’Connor, Margaret McKenna, Miriam Dowd and Emma O’Brien.
A special word of praise should go to those behind the scenes who collated and produced the photography and footage that ran throughout the production. Paul Dunne’s audio and video design complemented the wonderful set design by Tadgh Mc Sweeney.
Assistant director and stage manager was Emma O’Brien; Costumes, Anne Gleeson; Poster and programme, Emila Kleczko and Paul Dunne with additional photography by Derek Egan.
Steward leaves mark
Since their foundation in 1944, Carlow Little Theatre has performed some classic works, and accumulated many prestigious theatre awards.
This production of The Steward of Christendom will deservingly rank in the top echelon of their portfolio of excellence.
One imagines that the Magi of theatre O’Rourke, Costelloe and Casey watched from on high. And were pleased.
