THE FESTIVAL YEARS

By Seamus McNabb

I wasn't born a director! Indeed, we were far from the world of the theatre when I was growing up in rural Tummery. I have no formal training which makes me jealous of the students of today. They have their drama, their communication studies and their technology. However, on second thoughts, many of them, despite their study, hold no real love for art in its many forms. Perhaps they are suffering from overfeed? I do love the theatre but I got my love from the simple upbringing it St. Dympnas. No head in the air nor artificial ladidas there! Perhaps we did lack the technical know how, perhaps all our stage manoeuvres were less than West Endish but what we did was genuine and for the love of our art without profit and sometimes without credit. I say this last thing with great care for I respect and value the audiences over the years. They turned out time after time. If they liked what they saw, they let you know. One or two plays that they were not so thrilled with, well you just knew.They didn't necessarily come and say so. It is to everyone's credit that Dromore still holds on to the practice of Amateur Drama!

As mentioned elsewhere, I was dragged screaming into directing due to tragic circumstances. My first production of "The Country Boy" was a daunting experience. Here I was supposedly telling Will Ward and Eugene Donnelly what to do! Men that I had apprenticed with over the years were now supposed to listen to a jumped-up jack like me. But, to my amazement, they did. You see there has always been the honourable tradition in St. Dympnas' that the director is the boss, even when he's wrong! With my first production successful and me, relatively unscathed, I allowed by youthful exuberance to out and chose an English play by Yorkshire man J.P. Priestly. The "Inspector Calls" had had many successful outings in the West End. The world of the well-to-do Birlings in the South of England was a daunting setting for Dromore actors. I detected the lack of association with such a society in the initial readings but to their eternal credit, the cast stuck to the task. Grainne McGlone was a marvellous set designer who know how to provide a setting for such prosperity and Willie Ward turned out an excellent performance as the Inspector. The audience loved the story with its moral lessons and I had got away in the smoke again!

I personally had attended a lot of drama festivals and I felt that groups did learn at them. I also saw some of their disadvantages but, overall, I was being nudged towards them. A good contact from South Fermanagh Mr. Hugh Murphy had an extraordinating in drama and he had notions of running a drama festival in his native Kinawley. He approached me to bring St. Dympna's group to his inaugural festival. Our play was "Year of the Hiker" and we agreed to perform. There was trepidation amongst our cast. Old stories of adjudicators with satanic characteristics die-hard. We won our first festival and were on our road, sometimes a hard road, to drama festivals. Our next production was, in my opinion the best production we had ever had. I am talking about Brian Friel's "Philadelphia here I come". Occasionally a play comes along for which your cast is perfect and this was it. We had the Colton brothers as the two Gars, Dolores Mc Crystal as "auld flatfeet Madge" Hugh Colton as Senator Doogan, John Mc Cusker as Master Boyle and so on. The cast is included elsewhere in this booklet and every one of them was perfect. We headed to Kinawley for a second time and brought home most of the trophies. There would be no stopping us now.

Of course, life is not as simple as that and we have had productions which simply did nothing as far as festivals were concerned. One that was successful was "Freedom of the City". The large cast, composite set and effects were daunting. I would at this stage like to mention the contributions of Eddie Fitzpatrick and Justin O'Doherty. These two gentlemen, and I use the word deliberately, came from the Omagh players to help us with the quite complex lighting involved with "Freedom of the City". Previously David King had been our lighting expert and good he was, with very limited equipment. However David had gone elsewhere and we were stuck. Eddie and Justin rescued us and have been doing so ever since. "Freedom of the City" won all the festivals in which it had been entered.

However, we had still to bring a performance to the All-Ireland finals "All in Favour said No" was our first and we travelled all the way to Tralee. We had a few days of glorious fun and, as in, most instances the first experience cannot be beaten. "Big Maggie" also reached the All Ireland as did "Lovely Leitrim" although the competition was cancelled due to Foot and Mouth. I have had the good fortune to produce many other plays including "Drama at Inish","Callaghan's Place","Moll" and this year's "Juno and the Pay cock".

I have also been involved with Joe Daly, John McCusker, Grainne O'Hanlon, Cathy Colton, and Danny McLernon in their productions. I say thanks to each and every actor that I encountered for your grace and acceptance of me. I enjoyed working under the directors. Thanks to be God for the health and strength.

During the years, the society was lucky to enlist individuals from outside the normal catchment area. In days gone by Kathleen McCarney and Stephen Traynor joined us from Fintona as did Carmel O'Neill form Clogher. Lately we had Dympna Slevin from Beragh who played many landing roles as well as this years' Juno in "Juno and the Paycock". Seamus McMahon played in "Philadelphia" and hailed from Roslea. Anne Donaghy from Sligo played in "Is the Priest at Home", Seady Hamilton came from the South of England and became a very competent actor. Seady now lives in Austria. A present stalwart of our society is, of course, Danny McLernon. Danny is an Omagh native and a terrific actor and director. Annette Owens, head of drama in Mount Lourdes Grammar School, Enniskillen, joined our group this year and has contributed enormously.

We often hear that young people are no longer interested in "outdated" pursuits like drama. Unfortunately it is a belief that I would have gone along with until this year. Then out of the blue, we were able to enlist quite a few young people. Young Dalian Campbell, Jason McNabb, Paula McNabb, Damian Hannigan, Neil McNabb joined Hugh Donnelly and Roddy Hughes. These are our future stalwarts and we sincerely hope they maintain their involvement.

Plays are what you see on stage.   Sometimes the real drama is to seen.   When a prompter tries desperately to throw a line to a struggling actor, an essential prop has to be smuggled on stage, a sound effect is not coming, or the actor forgets his entrance or his exit! All of these things can happen. It takes a collection of diligent people to ensure that the production runs at least half smoothly. St Dympna's has been lucky. Anne Mc Guinness has carried out the thankless task of continuity for years. Seamus McQuaid, as well as being a talented actor and writer, has designed and constructed the sets with good humour and aplomb. He has been aided by Jim Winters and Manus Murphy, Jim and Manus have travelled the country to festivals the lorry usually laden with rubbish but still our set. No better company could you have with you than these two and no better men to ensure return to earthiness when circumstances and individuals are getting above their stations. David King did lighting with poor equipment, Paul Mc Goldrick was an efficient stage manager who wore the "cans" with authority and the late Donal Mullan did everything.

I could go on but it might be invidious of me to do so for I am sure to omit someone. Many locals have helped out in many ways and we are lucky that we have the support of the local community. To anyone who as much as lifted a chair on behalf of St Dympna's I say a big thank you. If your name has not been mentioned, you are still remembered.

Yes, we have come 100 years. I have come forty of those years with the group. I don't regret one minute of all the work and effort. I have met good people, we have celebrated and suffered in unison and long may it continue. Here's to the next one hundred years.

- Seamus McNabb

Earliest Memories of Drama

by John McCusker

My earliest memory of drama in Dromore was going to "Mrs Mulligans' Millions" in the old St Dympna's hall. It must have been around 1941 and my excitement at the prospect was because Johanna Gallagher who was looking after me as I grew up in Church Street, was acting in the play. Joe Hughes of The Glen was the star performer. The only other play that comes to my mind from those days in St Dympna's was the Omagh Players coming to perform "The Money Doesn't Matter".

The late Joe Hughes' bicycle repair shop in Church Street was the place to go in the 50's and '60's if one wanted to talk about plays. There was an open fire at the back of Joes' shop and if you wanted to talk about plays or fishing you were welcome to a seat at the fire. Joe's fondest memories lay with the group's first production of "The Golden Priest" (he had in the shop the penal cross that he had beautifully chiselled and carved from a block of wood for use in that play) and "Bugle in the Blood," particularly the performance of it in a packed marquee in Carrickmore. Many hours were spent discussing books and plays - anyone coming for bicycle repairs was merely an unwelcome interruption, but the job would be expertly done for them. Joe was a one man drama crew - acting, production, lighting, planning or making of sets all to perfection. Those evenings at that fire were spent in the company of a man whose expertise and knowledge in so may areas of life was remarkable, and who over the years gave so much to drama in the Dromore area.

Around that time I played a part in "Anyone Can Rob a Bank" with the late Joe Daly producing, another man devoted over the years to the drama group. He had strong casts assembled for planned productions of "The White Steed" and "Anne Frank". Rehearsals were well under way but unforeseen events prevented the group continuing with either play.

So from the early 70's there was around a ten year lapse in any drama activity. In 1981 Joe Hughes chose the play "Grogan and the Ferret" (Joe was an admirer of George Shiels plays) and prevailed upon me to take on productions. I had of course the advice and help of Joe and Joe Daly to encourage me and steer me in the right direction.

Following on from this I produced "Macook's Corner" in 1982, "All Souls Night" in 1983. I had always wanted to see how local audiences would take to a strong tragic play and "All Souls Night" was that. The following year we staged that great mix of a play from Walter Macken "Home is the Hero" and in '85 the comedy "Sailor Beware".

These plays brought big audiences to St. Patrick's Hall and what was pleasing was how much young people enjoyed them because for any it was their first time to see live drama on the stage as opposed to a diet of TV: it was a resurgence of a parish tradition in which many had played a part. In the plays that I produced over these years I was always indebted to the expertise and experience on stage of Willie Ward; no part was to big or to small for Willie whose versatility was a feature of the group over many years.

Now under the direction of Seamus McNabb the group has been taken to new levels with successful participation in drama festivals.

-- John McCusker

Drama in Dromore

by Willie Ward

Drama in Dromore has been in existence now for 100 years. There have been breaks in continuity but not for long periods. A revival took place in the mid 1950's and at that time I started to take an active part. It did take enthusiasm and endeavour to keep going as rehearsals took place during the winter months and venues for meetings were cold and often there was not even a "hot cuppa". Nevertheless "Home is the Hero" was successfully staged in 1956 for local audiences and also in twenty odd parish halls throughout Tyrone and Fermanagh. The following year we presented "The Bugle in the Blood" with similar success. 1958 was a memorable year culminating in a tremendous production of "The Golden Priest". These were followed by "Spinsters are Sly", "Ambassador of Christ" and "Grogan and the Ferret", "Anyone can Rob a Bank" "All the Kings Horses" and the list goes on.

FOR SALE - A LOG CABIN - NEVER USED 

I was in the chapel avenue fixing the legs of my trousers inside my socks, preparing to cycle home from confessions, one Saturday night near the end of October, at the beginning of the 60's, when a tall gentleman approached me and asked me if I would like a part in a play. At that time I suffered from a complaint that thankfully has a kind of cleared up since. This complaint was called shyness or as my granny used to call it, backwardness. So when this tall gentleman put this question to me, I spluttered and spluttered and I eventually managed to blurt out an aye. As the gentleman was leaving I gathered my wits about me and asked him what kind of a part I'd be playing. "A woman," says he. "A what?" says I. "It'll be a nice easy part to start with", he says as he walked off. "Be in the hall on Tuesday night at eight o'clock". I was standing staring after him saying to myself "A woman, a woman" when a neighbour man came along. Says he "You've lost it, McQuaid. That isn't a woman, that's Joe Daly.

I had heard of Joe Daly. He was known as a man who could spot raw talent, work with them and mould them into splendid actors (of course Joe picked a dud now and again). As I rode home on my bike, I started to think about this new venture. I'd been to all St. Dympna's performances in the 50's, "Johnny's Britches", "Groogan and the Ferret", "Bugle in the Blood" etc. I was also a frequent attendee of the Montague cinema. Audie Murphy, Glen Ford, James Stewart, John Mills were all big heroes of mine. The first film I saw always occupied a special place in my mind. It was "The River of No Return" starring Robert Mitchum and Marilyn Monroe. They lived in a log cabin in a valley in Montana. Truly romantic! Now I was going to be in the same profession as them. I could be the next big thing to hit Hollywood, an Irish cowboy. (Years later I was called a cowboy but the person added builder after it)

After I rode down Joe Mc Aleers' brae my imagination started to run wild. I was away out west riding the range on my sweaty nag, hurrying to cut the bank robbers off at the canyon. Faster, faster, come on Rusty boy (the horses name) we must make it before they do. Right lad one big effort. All of a sudden the front tyre burst, jammed the wheel and I was somersaulted over the handlebars into a deep briary sough. As I tried desperately to crawl out it started to snow. As I limped that couple of mile home pushing the bike I thought of Robert Mitchum and Marilyn Monroe in "The River of No Return" and vowed I'd burst myself to achieve something similar.

Next day I thought I'd mention to my father about the new career I was about embark on. He listened intently as I explained I was approached to play a part in a play. Of course being very enthusiastic I didn't notice him giving the wee grunt he used to give when he wanted to get something off his chest. I blathered away and unfortunately began by first mentioning that the starring role would be as woman. "A woman" he growled "you a woman. Look my boy as little help as you are at the minute; them "hoors" will leave you completely useless. I'm warning you now. Take up tug-o-war or something with a bit of sense in it. As I cleaned out the byre I was amazed at the lack of faith my father had in the acting profession. It also struck me that despite all the horses that's' in the western films still you wouldn't see one bit of horse manure.

Tuesday came and I couldn't wait until eight o'clock so I would be handed my script and see for the first time this part I'd be bringing to life. I thought long and hard about my part, a woman, and the more I thought about it the more I was convinced this was probably the most difficult acting job for a man. A woman speaks differently, kind of softer, so I practiced that. Well out of earshot of my father of course. A woman is always fixing her hair, patting it like. So I practiced that. A woman walks different, we short dainty steps, and so I practiced that. I saw my father staring at me through the hedge. So I decided to get in first. "I'm joining Meenmore Tug o war team in the spring" I said. "That's if your not in the asylum before then" he replied as he walked off.

Tuesday night came. I left my bike in Rosie McCaffrey's yard and walked down the town. Two townies were standing in Guys entry and as I passed I heard one saying "Is that a benweed sticking out of his breast pocket". Laugh and mock as much as you like, boys, I thought but when you're gathering up the one and six to go to the cinema to see Marilyn Monroe and me, who'll be laughing then.

I didn't want to arrive at the hall too early. I had mentioned my adventure to Jim Gormley and he advised me not to show too much enthusiasm. He said they'd appreciate me more for it. It was twenty past eight as I opened the hall door and I tried to keep calm but my head was pounding. I was walking into the unknown. Who would be there! Would they all rise to shake my hand and welcome me there! Would Joe Daly say, "This lad is destined for big things"? The hall was in darkness except for a rim of light coming from underneath a door up near the stage. I could here the rumble of voices coming from this room. I took one final deep breath and opened the door. About six men and one woman were sitting around in a circle. Joe Daly had his back to the door and didn't see me enter. A large red- faced man was in full flight. "I think youse are out of your heads," he said, "thinking we could stage a play like this. Look at the script! Says that we have to have a car on stage". How in heaven's name are we going to get a car on that stage out there". Take the sidewall out of the hall would be the only way. That crack is alright in Carnegie Hall, New York but this is St Patrick's Hall Dromore!" A smallish man in the corner spoke then. He suggested that a cardboard car could be made. Back came the big red-faced man. "A cardburd car, a cardburd car," he cried. "Sure four people has to get out of this car. How could you put four people into a cardburd car, I think youse are off your heads. Cardburd car my arse". He let a sigh as if he was finishing but started immediately, "And if that's not bad enough, youse are going to have a cub playing a woman's part. Why must we have a cub playing a woman", he said querying "isn't there plenty of wemen to play a woman".

Then the only woman there spoke up. "I agree with you" she said, "We could get a woman or a girl. I don't know what cub you have in mind but he'd have to be a good actor to play the part of a woman. Sure the voice would be completely different". The Joe Daly, who still didn't know of my presence, said that this woman didn't speak. In fact this woman lay at the back of the stage covered in hay and only her feet and legs would be seen. "If that's the case" said the red faced man, could we not have a pair of Wellingtons sticking out from the hay?" Joe agreed that was a good idea. "Well that's that solved", said the red-faced man. "It's better than having an auld gammy cub standing about all night in the way". The rest agreed. "Now lets get back to this car handling", said the man. I waited a few minutes until the discussion about the car was in full swing. Then I eased myself off the chair, opened the door quietly and stepped into the dark hall. As I made my way towards the front door I thought it symbolic, a great light had just been extinguished in my life and darkness was descending fast.

As I hurried up the street the townies were still in Guy's entry and as I passed one said to the other, "Maybe I'm wrong but is there a smell of a buck goat off that fella". The other one made a bleating noise like a goat. As I pushed my Raleigh against a strong gale, a tremendous anger came over me that made me tramp harder on the pedals. As I passed Willie Holmes lane the chain couldn't take the pressure and snapped. I looked on the road for the chain and realised I'd hit a rock bottom. Living with Marilyn Monroe in a log cabin in Montana was a million light years away.

My father was in the corner as I arrived home. "Well, how did the acting go?" he asked sarcastically. "I didn't get the part" I replied. "Oh, who got it then?" he asked, delight in his voice.  "I was beaten by a pair of Wellingtons," I said.

The following year Joe asked me again and I played the part of a young Garda Sergeant who was engaged to the then Alice Mc Nulty in "Anyone Could Rob a Bank". God bless you, Joe, for persevering with me and adding another very enjoyable strand to my life. I might not have realised my dream of living with Marilyn Monroe in a log cabin in Montana but I feel I achieved something even greater. I've lived in "Callaghan's Place" in Country Leitrim with Dympna Slevin.

Robert Mitchum, eat your heart out!!

DRAMATIS PERSONAE

by Pat McDonnell

The hall is filled to overflowing. Every square yard of floor has been requisitioned to hold a chair and the youngsters evicted by the late flood of adult patrons have been relocated on the long school forms immediately below the stage. The lights have been switched off and the buzz of conversation and laughter dies in anticipation. The total darkness is broken only by a thin slice of light stealing out from under the green curtain.. Strange sounds also escape from behind the curtain - coughs and whispers frantic and muffled. Finally even these die down. Silence reigns. Disbelief is suspended. The play is about to begin.

For at least one of those youngsters, crammed along the hard wooden school form at the front of that old corrugated-iron hall beside the Commons in Dromore, the thrill of anticipation for that rising curtain has not dissipated. Half a century has passed and many of the iconic figures in that small boy's world have exited for ever - but the magic of that moment remains. Shake the kaleidoscope of memory and those figures appear, startling in their freshness. There is the pageant of ancient Ireland, with statuesque bearded figures in their saffron and blue and bright green. Seated among them and clearly the dominant figure in the tableau is Saint Patrick, alias Michael O'Neill, farmer from Kieldrum and sometime Member of Parliament. The effect was entirely visual - not a word can I remember but the image is engraved on my mind.

Since then I have sometimes wondered that the former Orange Hall - relocated from Trory in County Fermanagh - did not collapse with indignation at the displays of triumphant Irishness which its old stage carried. Displays like The Golden Priest.

I have lived long enough to see The Golden Priest alternately revered as the ultimate in dramatic achievement and dismissed as suitable only for end-of term schoolboy theatricals. When I first saw it in the 1950s, I was certainly subscribing to the former view. While the intervening years may have changed my appreciation of the dialogue and plot dynamic, I remain stunned to this day by the artistic achievement of Tommy McLaughlin in that production.

Tommy was a shy genius from Mullanboy - a man greatly gifted both in music and the visual arts. His challenge as the set painter for The Golden Priest was to move the action from stately Rome to a rugged Irish hillside. This involved the painting of two massively-contrasting scenes. His success can only be described as breathtaking. The cold marble columns in the Roman heat - the heather and forest of the hillside on the borders of Louth and Armagh - Tommy captured them both as only a great artist can do and set them before the captivated Dromore audience.

Tommy was not the only genius afoot in those days. The eponymous role of The Golden Priest - Oliver Plunkett- was played by Joe Hughes. This was a man with a vast array of talents, a man so gifted that life proved far too short. At heart a shy man, he became totally alive on the stage. Blessed with great presence and a wonderful, sonorous voice, he was born to portray the noble archbishop. I looked around and saw tears in the eyes of many of the adults in the hall as Joe took his place in the final tableau of  the horror of Tyburn, Above his head as he knelt in serene prayer hung the grim silhouette of the hangman's noose.

Other images leap from that production of fify years ago. Edward O'Reilly as the dashing Count Redmond O'Hanlon, defending his old estates from the fastness of the mountain glens. The thunderous battle with the dust rising off the old stage as Mick Slevin and Packey Donnelly exchanged blows for their respective factions. The droll roguery of Packey McNabb as the tramp Peter Pad the Road. And that great survivor of those mythic days - Willie Ward, the Archbishop's faithful servant - and a great and faithful servant to Dromore drama.

It must be recorded that The Golden Priest was produced again in the early 1970s. Joe Hughes was still available to play the title role. Strangely, I do not have the same magical and vivid memories of this much more recent production. That may be because I was no longer a child. It may also have been because I had undertaken a minor role myself and as a rather tardy Father McKenna had incurred the righteous wrath of the Blessed Archbishop. It is dangerous to tread on dreams.

There was a serious re-engagement with drama in Dromore within the next few years. The plays of George Shiels - a very particular Ulster drama genre - made a comeback and went down well as they always do with local audiences. Then we went for another revival - a play from the pen of the much-loved Galway novelist, Walter Macken. This was 'Home is the Hero' and I found myself playing the crippled cobbler son of Paddo the Hero, with that part taken in imposing style by Eugene Donnelly. One of the technical challenges of the production was to arrange for Tom Maguire to be knocked down the stairs by Eugene. There were obvious dangers in this arrangement and we ended up with me being delegated to catch Tom as he fell down the three steps of the rudimentary stairs we used. Anyone who remembers Tom - another great character in his own right - will have some appreciation of the kind of advice I got about catching the little man as he fell!

No reflection on Dromore drama could neglect the memory of Joe Daly. The big man from Tummery was a constant presence on the local dramatic landscape. He brought to our plays the same open and honest enthusiasm which marked all his endeavours in a long and useful life. Joe was very anxious that no 'inappropriate' language would be used on the Dromore stage. When we see where the alternative approach to drama might take us, the thought occurs that he might have been right after all.

A great Tyrone poet has spoken of 'dolmens round my childhood'. In the same spirit I offer these reflections on some of those who have enriched the life of this locality over fifty years of drama.

The two Joes

St Dympna's Drama Society has a varied demand on members and acting is only one role. I have often mused on the fact that, after a whole season's rehearsal spending time with leading actors, the concern of the director may switch on the night of performance to the person in charge of the curtain or the sound effects technician. These have now become the all important people. I reminisce on all this because it is probably unwise to dwell on individuals to any great extent. However I know that I will be forgiven for singling out the two men that I have chosen for special mention. Although both men have gone to their eternal reward, their input into local drama and into St Dympna's will never be forgotten. I am talking of course of the two Joes, Joe Daly and Joe Hughes. These were indeed dramatis personae, men with different talents but both unified by an all-embracing interest in amateur drama in all its forms.

Both men were responsible for introducing me to drama and to St. Dympna’s. In fact in my early days I assumed that theatre was their full time careers, so much were they involved! My father was also a keen drama aficionado and performed in many of the plays that the two Joes produced. Joe Daly was a regular visitor to our house in those early days and the regular topic of conversation was the "play. I heard of "good character actors", "good stage presence" and "good set constructors" long before I ever knew what they meant! In those bygone days confession was at least a monthly practice. I cycled with my father the four miles to church. Then we descended the Church brae for the Sunday meat. Then the marathon began. We always had to visit Joe Hughes in his bicycle shop. As a small impatient boy I recall being jammed into a cul de sac surrounded by bicycles, batteries and other unidentified trumpery whilst the men carried on a seemingly eternal conversation about the "play". I must have had some deep-seated dramatic conscientiousness for I could appreciate Joe's artistic features and voice as being what a "play-­actor" might have!

I can vividly recall my first dipping of toes into the world of amateur drama. The call came from Joe Daly and the play was the White Steed. At the time the choice was controversial enough for the Paul Vincent Carroll dealt with the excessive power of the church in the Ireland of the day. Joe Daly was by nature a conservative! At any rate, as a gauche seventeen year old, such matters did not concern me. Imagine my disappointment when the play had to be abandoned due to a cast bereavement. I recognised that the director was just as disappointed. I left for college and my cultural fancies turned to a different kind for a number of years! I returned in 1973 and was invited by Joe again to take a role in a play called "spinsters are sly" .In hindsight my role was that of a slightly effeminate pianist but such depths were not to be explored in the Dromore of the early seventies! This was the only time that I had the pleasure of experiencing Joe's directorial qualities. However I do recall his advice on ghosting, stage movements and voice usage, just the very same as I would try to instil into actors today.

As younger directors came on board, Joe took a back seat but was always there for advice and companionship. As I have mentioned earlier Joe was by nature a conservative man, which is the reason that the following story stands out in my mind. The setting was a drama festival in Shercock, Co. Cavan, the play was Freedom of the City and it was the final night, the night on which groups learnt their fate. Someone with less wisdom than Joe had suggested that we travel by minibus. The inherent danger of such a trip was magnified by the fact that we won! The celebrations began and went on and on... My recurring memory was of Joe holding and shielding our precious trophy at four in the morning. It might never have reached home but for him! These are but some of the very pleasant memories that I hold of the late Joe Daly, a gentleman and a scholar. Go ndeana Dia trocaire air.

Joe Hughes was first and foremost a terrific actor. I feel that Joe could have been successful on a much bigger stage if he had so wished or had it been the modern day. He had a wonderful voice, a tuned sense of timing and a marvellous stage presence. His portrayal of Blessed Oliver Plunkett in the Golden Priest was unforgettable but he was also a marvellous comedy actor. His portrayal of the bawdy undertaker in "spinsters are sly" and the run down tailor in Grogan and the Ferrett are two roles that stand out in my memory, as does Professor Tim with the Dromore players. Sadly Joe's hearing diminished and I only remember him well as an actor in his latter days. However Joe could turn his hands too most things and his dexterity and adroitness allowed him to do lighting, work on sets, in fact almost anything. I well remember him helping me on the set of Sive. The set required a fireplace and jam of the type required in old Irish cabins. Joe took it on himself to construct one out of a wire framework and a paper mache exterior .It was a work of art! It was admired by public and adjudicators alike, but such was the talent of Joe Hughes. In later days he directed with the Dromore players, always playing down his input .We all knew that was not so.

My most recent memories of Joe Hughes were as a friend and a confidante. I recall my visits to his simple home, surrounded by his books, his models, his fly-tying equipment and his binoculars. Here conversation soared above the mundane as he broached such subjects as nature conservation, woodcarving and, of course his beloved drama. It did not seem odd that Joe approached his impending death with the same dignity and acceptance as he had in life. A marvellous character, a good Christian, a modest man, a man with the unique ability to lift one out of the humdrum of life. Rest in peace, Joe.

Yes, the two Joes were exceptional. I am not diminishing anyone else in St. Dympna's when I say that they gave the group a deep-rooted ethos, an undercurrent of philosophy that I believe is still there today .We will remember them.

Extracts from the Ulster Herald, March 1905

IN IRISH DROMORE

A REGULAR GAELIC CARNIVAL

NO SAXON SONGS OR DANCES

BUT "KINDLY IRISH" AS IN THE DAYS or

SEAGHAN AN DIOMAIS

Dromore was en fete recently, when the members of St. Dympna's branch of the Gaelic League gave a presentation of Mr. H. Connell Mangan's history play, "Robert Emmet". We understand that for the majority of the players it was their first appearance on the stage, a fact which made the unqualified success of the entertainment all the more remarkable. We venture to hope that the histrionic talent which this happy occasion brought to light will not be suffered to lie hidden in the future.

Mr. J. J. Walsh, as Emmet, did full justice to the part, and captivated the attention of a densely crowded hall, throughout the performance, the role of Emperor Napoleon was impressively sustained by Mr. P. Donnelly. Mr. P. Duggan, as Russell, was remarkably good.

Mr. G. McLaughlin, as Michael Dwyer, brought out the general traits of Emmet's true friend. Miss M. Treanor, as Sarah Curran, gave a striking display of histrionic ability. Miss C. McLaughlin made a heroic Anne Devlin. Mr. J. Curran as Kirwan displayed much talent. Messrs. O. McPike, J. McLaughlin, F. McMenamin, as workmen, Messrs. F. McCormac and D. Curran, the two Kildaremen, Mr. Campbell as the messenger, Mr. Quin as Barney Duggan, were most successful in their respective roles. In the trial scene, Mr. Jas. Gallagher as Norbury was exceptionally good.

Ulster Herald, March 1905

Extracts from the Ulster Herald, March 1905

BRILLIANT NIGHT OF IRISH MIRTH AND MINSTRELSY

In the evening an audience "packed in the doors" assembled in the Parochial Hall again to enjoy a delightful entertainment provided by the exponents of the Gaelic Revival in the town and district.

Concerts and plays have been organised so successfully in Dromore time after time that one need not go to the trouble of searching for adjectives in order to convey an impression of the merits of Sunday night's performance. If the adjectives were hunted up and properly applied they should all be superlatives. All the arrangements had been supervised by Father Maguire, who presided at the concert, and who was assisted by experienced workers. the visitors from Omagh, Enniskillen and Irvinestown and other places who remained after the Foresters' meeting were reinforced in the evening by large contingents from the same towns and from outlying districts. "All went merry as a marriage bell" from start to finish. The attendance included the Rev. Father McGinnity P.P., Kilskeery; Rev. Father Mohan, C.C., Ederney; Rev. Fr. Eardley, C.C., Dromore; Rev. Father Coyle, C.C., Pettigo; and Rev. Father McQuaide, C.C., Irvinestown.

Several items of the concert were disposed of before Dr. Douglas Hyde's bright little play "An Posadh" was "put on the boards". The cast was as follows:-

Martin, Mr. Martin Gaughan

Mary (his wife), Miss M. A. McNabb

The Blind Fiddler, Mr. Joseph Grainger

John, the miser, Mr. Con O'Donn

Minor parts were filled by - Misses Jenny McNabb, M. K. Gallagher, Maggie Donnelly, Messrs. Peter O'Daly, Charles McNabb, Wm. T. Grainger, Masters Charles McLaughlin, D. McElholm, J. McLaughlin and P. Colton.

It need only be said that the manner in which "An Posadh" was presented by these young Northerns would do credit to so many natives of Munster's Irish speaking capital Ballyvourney - and even in Dromore they would ask for no higher praise. Truly, Irish should be the language spoken by Irishmen. Even those who did not understand felt the spirit of the piece. But "An Posadh" had been given in Dromore by the same talented players already; so their success was not to be wondered at. The concert was as Irish as Tyrone in the days of Shane an Diomas, and every item, song, dance, and recitation, was rendered, the audience remaining until all joined in the grand finale £A Nation Once Again", Miss M. Treanor (Monaghan was the accomplished accompanist, and the Devenish Band's performance merited Father Maguire's encomiums at the conclusion.

The following ladies and gentlemen took part in the attractive and extensive programme:- Dromore School Children; C. McManus, C. Slevin, Lizzie O'Reilly, M. O'Farrell, M. Gorman, B. Colgan, M. Kenny, Agnes McManus, M. Treanor, S. Doherty, M. A. Farmer, Monaghan; M. A. Donnelly, S. Gallagher, Julia Corey, S. Kelly, C. J. McQuaide, M. and S. Kierans, S. Porter, U. O'Reilly, S. O'Brien, J. McManus, M. Colgan and L. Wallace, Messrs. J. O'Doherty, J. J. Walsh, J. J. Hurley, Martin Goughan, Thomas O'Donnell and D. McElholm.

Ulster Herald, March 1905

Related links

St Dympna's Drama Society First Play(I know there is some confusion over the date, is it 1905 or 1907)