Galway’s early links with drama

We know from the town hall archives that theatrical performances were held at the town hall Tholsel as early as 1619-20. These groups of “itinerant actors” were often sponsored by local gentlemen and were considered an important feature of festive gatherings.

In 1642, the famous actor Jeremy Whiteley came to Galway to join the Widow Parker and her troupe. He eventually married the Widow Parker, but they eventually had to leave the city due to dwindling audiences. It is not known where in the city these performances took place, but if there was no suitable hall, local supporters often provided accommodation, offering barns, sheds, stables, etc. The audiences usually consisted of gentlemen, members of the legal profession, and the military.

By the mid-18th century the practice of travelling troupes ‘following the assizes’ was well established, and the Galway Theatre, in existence in 1739, was one of their stops. These troupes relied on elite patronage, but their performances also had audiences from other social classes, who were segregated in boxes, theatres and balconies. Plays were still performed in the upper rooms of the Tholsel, in less than ideal conditions. Amateur drama now became popular, and in 1766 a man named Dick Martin established a small theatre in Kirwan’s Lane. A young and promising actor called Owenson was appointed manager. It was a small space with a sloping theatre, seating 100 people. Martin did this mainly to indulge his wife Elizabeth Vesey, who was well versed in the dramatic arts, and to ‘enable his gifted wife to act on her own stage’.

Our example is the playbill for one of the most popular plays of the time, Douglas, which was performed at Kirwan’s Lane in August 1783. Richard Martin played the villain Glen Alwyn and his wife played the heroine, Mrs. Randolph. She also played the role of Miss Bridget Pumpkin in the second play of the double act, All the World’s a Stage. Tickets were not cheap, with stage tickets costing £1 2 shillings and 9 pence and auditorium tickets costing 4 shillings and 4 pence. The ladies were asked not to wear hoops to allow more people to enter the auditorium.

Young Theobald Wolfe Tone (later a revolutionary leader of the United Irishmen) lived at Martin’s house in Dungan and also acted in both plays. He fell in love with Mrs Martin and began an affair with her, which eventually led to him being “asked to leave” by Richard Martin.

In 1792, Martin sold the theatre to Alexander McCartney, who expanded it and it remained in operation until at least 1809. At the time, it was customary for gentlemen and ladies to send servants to reserve seats for them in their boxes, an early form of reserved seating.

“In 1833 the ballroom of the Kilroy Hotel was converted into a handsome little theatre, but this did not really satisfy the theatrical need in Galway. In 1835 a new purpose-built theatre was opened in Lombard Street, with 70 shareholders contributing an average of £10 each. Mr Seymour was appointed manager, and he engaged a “large and talented company, whose first performance was very impressive, an opera called Rob Roy”. The theatre was very handsome in appearance, and the boxes were very tastefully and neatly decorated. The seats were spacious, and could accommodate a large number of people.”

Our second example is a poster for a show there in 1835. Usually when a guest actor came to Galway, there was a benefit show on the last night for that actor, in this case Mr. and Miss Durand. That was how they made their living.