Kirwan's Lane Theatre

Kirwan's Lane

Early Photograph of Kirwan's Lane. Date unknown.

Courtesy of Galway County Library

Kirwan's Lane
Courtesy of Galway County Library

Kirwan's Lane

Early Photograph of Kirwan's Lane. Date unknown.

Courtesy of Galway County Library

Enlarge image

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 MartinCallista.' 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.