JOE DONOGHUE R.I.P.
Joe Donoghue was a very experienced theatrical actor and director when he directed his first musical, for the Marian Choral Society, in 1984. It was "Brigadoon", in which he had played as a schoolboy and he brought the directing and design values of "straight" theatre to musicals. He followed with "The Mikado" because he believed, rightly, that every musical society should experience the discipline of Gilbert and Sullivan; then just two years into his new job, he brought us the "Five Glorious Mysteries."
We presented "Jesus Christ Superstar" (the first to do so without Colm Wilkinson) in the Synod Hall of St. Mary's Cathedral, a beautiful building but with just four walls, a ceiling and a floor. The stage, or rather performance area was built from nothing — it was a two-storey cornucopia of entrances, exits and focus areas. The cross alone was a masterpiece of imagination — I remember the stage carpenter saying that Joe's idea couldn't work as he was looking at it from a prosaic, material angle. Joe saw it with a visionary eye and when it did appear, rising from the floor of the set, it brought gasps of astonishment from the audience at each of the eleven performances.
Another magical moment came when the hitherto dull grey east window at the back was illuminated from without and illustrated the idea of resurrection in a breath taking way.
"West Side Story" was the follow up and it allowed Joe to marry his theatrical and literary passions. This production, done "in the round" was more Shakespearean than any "Romeo and Juliet" with the cast dwarfed by a giant scaffolding/tenement set used to particular effect in the dream sequence as, instead of the usual solo voice, we did an a capella SATB version of "Somewhere", in candlelight. It was a vicious, ugly, brutal but ultimately life-affirming presentation.
"Camelot" was the third show done in the Synod Hall and Joe came up with an extraordinary design of a multi-storeyed, multi-faceted set. One magic moment was at the end of Act I when Arthur reaches a resolution of his dilemma vis-a-vis Lancelot and Guenevere. Joe had him raise Excalibur on high where it was hit by a single beam of light that stunningly said everything about how good conquers evil and civilisation barbarism.
For "Zorba" in 1989 it was back to the hole-in-the-wall stage of St. Jarlath's but now there was no limit to Joe's imaginativeness — gone was the front curtain, gone was the uni-level playing area. This show illustrated Joe's genius for characterisation. Every character, named and unnamed, was an individual with "a past, a present and maybe a future". If, as is said, all politics is local then all drama is local too so this panorama of small-town Greece was small-town Ireland and everywhere.
"Godspell" completed the quintet of extraordinary presentations. Joe revelled in the challenge of this ensemble work where both cast and the audience had to work on "another level". Who else but Joe could make a few trestle tables and planks constitute so many settings?
By now Joe was in demand by Musical Societies all over the country — he returned for a fine "Fiddler" and a hilarious "Me and My Girl" — and he kept working with many theatre groups. He was adjudicator for both drama and musicals and did a Master's Degree on local playwright, M.J. Molloy.
Joe was imaginative and probing in his designs, incisive and original in his interpretation of character and meticulous and patient in his work with casts.
He could get to the core of a play or show and get to the essence of any plot or character and bring them to an audience in an imaginative setting. His attention to detail — in set, costume, lighting, speech, gesture, presentation and grammar in the programme — was awesome and every rehearsal he had, with adults, or students in his beloved St. Jarlath's (where his greatest hour was "Les Miserables") was a Masterclass in theatre.
Just as his lights illumined many a point on stage, his work lit up the lives of tens of thousands in casts and audiences. He never directed 'Honk' but he turned many an ugly duckling into a swan on stage. To paraphrase what someone said on hearing of the death of George Gershwin
- "Joe Donoghue is dead, but I don't have to believe it if I don't want to".
Noël Kirrane (taken from the 2005 Jekyll & Hyde show programme)
We presented "Jesus Christ Superstar" (the first to do so without Colm Wilkinson) in the Synod Hall of St. Mary's Cathedral, a beautiful building but with just four walls, a ceiling and a floor. The stage, or rather performance area was built from nothing — it was a two-storey cornucopia of entrances, exits and focus areas. The cross alone was a masterpiece of imagination — I remember the stage carpenter saying that Joe's idea couldn't work as he was looking at it from a prosaic, material angle. Joe saw it with a visionary eye and when it did appear, rising from the floor of the set, it brought gasps of astonishment from the audience at each of the eleven performances.
Another magical moment came when the hitherto dull grey east window at the back was illuminated from without and illustrated the idea of resurrection in a breath taking way.
"West Side Story" was the follow up and it allowed Joe to marry his theatrical and literary passions. This production, done "in the round" was more Shakespearean than any "Romeo and Juliet" with the cast dwarfed by a giant scaffolding/tenement set used to particular effect in the dream sequence as, instead of the usual solo voice, we did an a capella SATB version of "Somewhere", in candlelight. It was a vicious, ugly, brutal but ultimately life-affirming presentation.
"Camelot" was the third show done in the Synod Hall and Joe came up with an extraordinary design of a multi-storeyed, multi-faceted set. One magic moment was at the end of Act I when Arthur reaches a resolution of his dilemma vis-a-vis Lancelot and Guenevere. Joe had him raise Excalibur on high where it was hit by a single beam of light that stunningly said everything about how good conquers evil and civilisation barbarism.
For "Zorba" in 1989 it was back to the hole-in-the-wall stage of St. Jarlath's but now there was no limit to Joe's imaginativeness — gone was the front curtain, gone was the uni-level playing area. This show illustrated Joe's genius for characterisation. Every character, named and unnamed, was an individual with "a past, a present and maybe a future". If, as is said, all politics is local then all drama is local too so this panorama of small-town Greece was small-town Ireland and everywhere.
"Godspell" completed the quintet of extraordinary presentations. Joe revelled in the challenge of this ensemble work where both cast and the audience had to work on "another level". Who else but Joe could make a few trestle tables and planks constitute so many settings?
By now Joe was in demand by Musical Societies all over the country — he returned for a fine "Fiddler" and a hilarious "Me and My Girl" — and he kept working with many theatre groups. He was adjudicator for both drama and musicals and did a Master's Degree on local playwright, M.J. Molloy.
Joe was imaginative and probing in his designs, incisive and original in his interpretation of character and meticulous and patient in his work with casts.
He could get to the core of a play or show and get to the essence of any plot or character and bring them to an audience in an imaginative setting. His attention to detail — in set, costume, lighting, speech, gesture, presentation and grammar in the programme — was awesome and every rehearsal he had, with adults, or students in his beloved St. Jarlath's (where his greatest hour was "Les Miserables") was a Masterclass in theatre.
Just as his lights illumined many a point on stage, his work lit up the lives of tens of thousands in casts and audiences. He never directed 'Honk' but he turned many an ugly duckling into a swan on stage. To paraphrase what someone said on hearing of the death of George Gershwin
- "Joe Donoghue is dead, but I don't have to believe it if I don't want to".
Noël Kirrane (taken from the 2005 Jekyll & Hyde show programme)
NOËL KIRRANE R.I.P.
Noël Kirrane, our long-serving Musical Director, passed away prematurely in September (2008) following a short illness.
Fresh from college, Noël took over as Musical Director, Conductor and Répétiteur with the Marian Choral Society in 1978, for our production of The Student Prince. He wielded the baton for every show since, without repetition, and has widened the society's horizons both musically and theatrically.
As a group, both collectively and individually, we have lost the inspiration, driving force and backbone of The Marian Choral Society. During his time with M.C.S, Noël was encouraging, committed, dedicated and never selfish of his talents.
Noël lost many dear friends and members of the society over the years, but he always carried on, worked hard and gave willingly to the society of which he was justifiably proud.
Noël's input to M.C.S, however, did not stop there. He could be seen sweeping out the hall, helping with the set, lighting or writing a few words for publicity and programme. Along with all of this he still found time to be welcoming to new members, have a laugh with our children and to enquire as to the well-being of our loved ones. These things clearly showed that Noël was not just a gifted musician and teacher, but also a warm and caring person -- in short a true friend.
Noël worked with almost every musical society in Connacht, along with various theatre groups. He took to the stage in St. Jarlath's College as a student and worked on every opera as Musical Director since he began teaching there in 1979. He was involved with the National Children's Choir for many years and was an Honorary Life Member of Ballinrobe Musical Society, with whom he worked for 15 years. Noël won numerous awards from AIMS, Tuam Town Commissioners and The Vatican, to name but a few.
All types of music were important to Noël, but sacred music held a special place in his heart. As choirmaster and organist to Tuam Cathedral Choir for almost 30 years, he brought the choir to a very high standard which they have maintained since his retirement.
In past programme notes for our many productions, Noël expressed an earnest hope that there would be people to carry on the tradition of excellence in the future. Noël gave us the wherewithal to do this by leaving a legacy of hard work and professionalism. He had a work ethic and sense of perfectionism that was far beyond the ordinary and we as a group have an obligation to carry this on.
The 2008 show 'All 4 one' was dedicated to Noël's memory.
We still miss Noël's wit, guidance and inspiration, but he proved by example, that despite any adversity he never gave up; nor should we.
(taken from the 2008 All 4 One show programme)
Fresh from college, Noël took over as Musical Director, Conductor and Répétiteur with the Marian Choral Society in 1978, for our production of The Student Prince. He wielded the baton for every show since, without repetition, and has widened the society's horizons both musically and theatrically.
As a group, both collectively and individually, we have lost the inspiration, driving force and backbone of The Marian Choral Society. During his time with M.C.S, Noël was encouraging, committed, dedicated and never selfish of his talents.
Noël lost many dear friends and members of the society over the years, but he always carried on, worked hard and gave willingly to the society of which he was justifiably proud.
Noël's input to M.C.S, however, did not stop there. He could be seen sweeping out the hall, helping with the set, lighting or writing a few words for publicity and programme. Along with all of this he still found time to be welcoming to new members, have a laugh with our children and to enquire as to the well-being of our loved ones. These things clearly showed that Noël was not just a gifted musician and teacher, but also a warm and caring person -- in short a true friend.
Noël worked with almost every musical society in Connacht, along with various theatre groups. He took to the stage in St. Jarlath's College as a student and worked on every opera as Musical Director since he began teaching there in 1979. He was involved with the National Children's Choir for many years and was an Honorary Life Member of Ballinrobe Musical Society, with whom he worked for 15 years. Noël won numerous awards from AIMS, Tuam Town Commissioners and The Vatican, to name but a few.
All types of music were important to Noël, but sacred music held a special place in his heart. As choirmaster and organist to Tuam Cathedral Choir for almost 30 years, he brought the choir to a very high standard which they have maintained since his retirement.
In past programme notes for our many productions, Noël expressed an earnest hope that there would be people to carry on the tradition of excellence in the future. Noël gave us the wherewithal to do this by leaving a legacy of hard work and professionalism. He had a work ethic and sense of perfectionism that was far beyond the ordinary and we as a group have an obligation to carry this on.
The 2008 show 'All 4 one' was dedicated to Noël's memory.
We still miss Noël's wit, guidance and inspiration, but he proved by example, that despite any adversity he never gave up; nor should we.
(taken from the 2008 All 4 One show programme)
Hugh McGrath r.i.p. |
They say that Musical Societies are like families and that those involved develop deep, almost familial bonds. If this is the case, then the members of the Marian Choral Society lost someone akin to their favourite uncle when the news filtered through that Hugh McGrath had passed away.
Hugh was born in Cavan in 1939, moving to London during WWII and growing up there. He was an avid Fulham FC fan. Hugh met his wife, Rose, in London after she emigrated from Athenry to train to be a nurse. They moved to Livonia in Michigan for a while before returning to Ireland in 1974 and settling in Tuam (Half way between Hugh’s job in Castlerea and Rose’s homeplace).
Hugh was a stalwart of the society. As members of the Cathedral Choir, Hugh and Rose were there since the inception of the Society. They both participated in that maiden performance, the 1977 production of The Golden Years. Hugh went on to appear in a wide ranging list of shows, some 20 performances until his last appearance in the 2005 Irish première of Jekyll & Hyde where he was one of the Board of Governors. Such was his experiences in the Marian Choral Society that his son Ian also became a member of the Society just to see what all the excitement was about! Hugh’s notable roles included Lt Brannigan (Guys & Dolls), Herod (Jesus Christ Superstar), JP Bigley (How to Succeed in Business…) and, of course, his most memorable performance, Alfred P Doolittle (My Fair Lady). Who could forget his rendition of ‘Get Me to the Church on Time’? I recall, with fondness, many rousing renditions of this number at many an after-show party. Indeed, we were honoured to have Hugh back on stage with us as recently as last May, when once again he performed his favourite number and enthralled the crowds in the Mall Theatre for our fundraising concert.
Hugh was a modest man, yet his outgoing and gregarious nature, coupled with his love of fun, were all hallmarks of his personality. He always had kind words to say and his joviality shone through. I think it’s fair to say that Hugh lived life to the full. It was these strengths that saw Hugh deal with his illness with such determination and dignity. Hugh’s death will be heavily felt by those whose lives he graced, especially members of Tuam Cathedral Choir and the Marian Choral Society. We will miss him greatly. Our thoughts and prayers are with Rose and family at this difficult time.
Ar dheis Dé go raibh a anam dílis.
J Duggan (taken from the 2019 Producers programme)
Hugh was born in Cavan in 1939, moving to London during WWII and growing up there. He was an avid Fulham FC fan. Hugh met his wife, Rose, in London after she emigrated from Athenry to train to be a nurse. They moved to Livonia in Michigan for a while before returning to Ireland in 1974 and settling in Tuam (Half way between Hugh’s job in Castlerea and Rose’s homeplace).
Hugh was a stalwart of the society. As members of the Cathedral Choir, Hugh and Rose were there since the inception of the Society. They both participated in that maiden performance, the 1977 production of The Golden Years. Hugh went on to appear in a wide ranging list of shows, some 20 performances until his last appearance in the 2005 Irish première of Jekyll & Hyde where he was one of the Board of Governors. Such was his experiences in the Marian Choral Society that his son Ian also became a member of the Society just to see what all the excitement was about! Hugh’s notable roles included Lt Brannigan (Guys & Dolls), Herod (Jesus Christ Superstar), JP Bigley (How to Succeed in Business…) and, of course, his most memorable performance, Alfred P Doolittle (My Fair Lady). Who could forget his rendition of ‘Get Me to the Church on Time’? I recall, with fondness, many rousing renditions of this number at many an after-show party. Indeed, we were honoured to have Hugh back on stage with us as recently as last May, when once again he performed his favourite number and enthralled the crowds in the Mall Theatre for our fundraising concert.
Hugh was a modest man, yet his outgoing and gregarious nature, coupled with his love of fun, were all hallmarks of his personality. He always had kind words to say and his joviality shone through. I think it’s fair to say that Hugh lived life to the full. It was these strengths that saw Hugh deal with his illness with such determination and dignity. Hugh’s death will be heavily felt by those whose lives he graced, especially members of Tuam Cathedral Choir and the Marian Choral Society. We will miss him greatly. Our thoughts and prayers are with Rose and family at this difficult time.
Ar dheis Dé go raibh a anam dílis.
J Duggan (taken from the 2019 Producers programme)
P.J. Grealish R.I.P.
It is with great sadness that the Marian Choral Society learns of the recent passing of the society's first Chairman, P.J Grealish.
In 1974, P.J, along with Fr. Greally went about reforming the Tuam Cathedral Choir, with the idea of singing at a broadcast Mass. After contacting many local singers, the choir was formed and sure enough, their first outing was at a Mass broadcast on RTÉ from The Grove Hospital, in Tuam.
The Marian Choral Society/The Tuam Cathedral Choir was one entity at the time and P.J was the first Chairman; a position which he held for 2 years from 1974-1976. During this time, the society/choir sang at Masses and performed various concerts for the community in Tuam and further afield. It was then in 1977 that the first musical was undertaken, 'The Golden Years.'
Both P.J and his wife, Maura and members of the Grealish family have all been heavily involved with the Marian Choral Society throughout the years.
We will be forever indebted to P.J for his drive and passion in helping to form The Tuam Cathedral Choir, which in turn has become our beloved Marian Choral Society.
Although the Tuam Cathedral Choir and The Marian Choral Society are now two separate groups in the town, many members are still involved in both.
P.J and the Grealish family continued to support the society every year since it's inception and for this generosity, we are all truly grateful.
Ar dheis Dé go raibh a anam. 🎵
(With many thanks to Mrs. Nuala Kelly for helping with information of the formation of the Marian Choral Society.)
In 1974, P.J, along with Fr. Greally went about reforming the Tuam Cathedral Choir, with the idea of singing at a broadcast Mass. After contacting many local singers, the choir was formed and sure enough, their first outing was at a Mass broadcast on RTÉ from The Grove Hospital, in Tuam.
The Marian Choral Society/The Tuam Cathedral Choir was one entity at the time and P.J was the first Chairman; a position which he held for 2 years from 1974-1976. During this time, the society/choir sang at Masses and performed various concerts for the community in Tuam and further afield. It was then in 1977 that the first musical was undertaken, 'The Golden Years.'
Both P.J and his wife, Maura and members of the Grealish family have all been heavily involved with the Marian Choral Society throughout the years.
We will be forever indebted to P.J for his drive and passion in helping to form The Tuam Cathedral Choir, which in turn has become our beloved Marian Choral Society.
Although the Tuam Cathedral Choir and The Marian Choral Society are now two separate groups in the town, many members are still involved in both.
P.J and the Grealish family continued to support the society every year since it's inception and for this generosity, we are all truly grateful.
Ar dheis Dé go raibh a anam. 🎵
(With many thanks to Mrs. Nuala Kelly for helping with information of the formation of the Marian Choral Society.)