Sligo Drama Circle Stage “To Live in Peace”

The stable yet unsatisfactory relationship between Church and state in the early nineteenth century, man’s uncontrolled quest for riches and power and the quiet, unassuming disposition of a country priest stood out in stark reality this week when the Sligo Drama Circle presented Giovacchino Forzano’s “To Live in Peace” in the Town Hall. However, far from being a drama steeped in history’s troublesome turmoil, this was a lively and oftentimes hilarious comedy which set an exceptionally brisk tempo from the start and maintained it to the end. Basically, the play presented itself as a light-hearted piece but not far beneath the superficial cloak of mirth, one could quite easily detect a moral – a message which brought to light all too easily the ills from which man has suffered since the beginning of time.

The action of the play took place in the living room of the house of Don Geronimo, the Parish Priest of Certaldo, a village at the top of a mountain near Sienna in Italy. Early scenes portrayed the simplicity with which the ordinary country folk tended their daily chores, guided by Don Geronimo who managed to rule his parish peacefully and quietly. Even the village doctor could find no work to do as none of the parishioners ever suffered an illness. Certainly, the early years of the nineteenth century brought nothing but happiness to the people of the village.

In far off France, Napoleon had come to power and, as was the custom of the times, his immediate relatives were placed in high offices. Word eventually reached Certaldo that the Emperor of France was prepared to raise Don Geronimo to the dignity of a Cardinal as he happened to be a relative. While the saintly priest pondered on whether or not he should accept, his friends fought over who should go to Paris with him as part of his retinue while others sought favours of one kind or another. Finally, of course, Don Geronimo decided to stay with his children and peace and prosperity returned to the village again.

The colourful setting which constituted Don Geronimo’s living room was very true to life while the lighting and general effects – especially the crowd scenes – were excellent. Of course, the central character of the play was Don Geronimo.

As he moved quietly through time, untutored in the ways of the outside world, he guarded his flock and set them right when problems came their way. Never, however, have I seen an actor fill a role so convincingly. He painted a perfect picture of the old yet ever-active Parish Priest and his timely comments allied with his slow but certain constructive reasoning added considerable strength to the overall character. As in other years, this well-known Sligo actor gave a performance which would do justice to any professional company of players. His expert handling of the lines won him the admiration of the audiences while his unquestioned stage presence and his ability to construct the character of the priest forcibly and convincingly gave all of us the feeling that here indeed is an actor of outstanding ability. Certainly, this was the greatest piece of acting seen on any stage in Co. Sligo this season.

The role of Agnese, Don’s personal servant, was filled by Marie Mulvihill. The great faith she had in her master was portrayed perfectly by this young Sligo actress who has proved her true worth on more than one occasion before audiences in this county and even further afield. Her free and easy analysis of the part was instrumental in creating a truly homely atmosphere and, throughout, she gave a truly delightful and intelligent characterisation. As Maso, the shy young sacristan who was deeply in love with Mattea, Brian Bohan displayed the virtues of spontaneous uncertainty which were so vital for the success of this particular part. He spoke his lines clearly and with a full understanding of what they were meant to convey and never on any occasion did he lose that sense of embarrassed simplicity around which his character was built.

Another Sligo actress who has captivated Sligo audiences for some years is Monica Toher who took he part of Mattea. Her wonderful facial expressions and her often bewildered outlook on life portrayed honestly the position of a young girl caught in a maelstrom of worldly affairs. The part of Corporal Charles Martiez, who eventually stole Mattea away, was taken by Eddie Fitzpatrick. Here again, a relatively minor part was played to the full. The love scene was especially captivating and, taken all round, the characterisation was a convincing one. As the doctor, Myles O’ Leary was satisfyingly impressive. He was a man who could find no work in the village but he was quick to ensure that he did not miss the band wagon for Paris. This was yet another smaller part which was handled delicately and carried through to a successful conclusion.

Of course there were other parts which added much to the overall production. They included Maria (Mary Mc Govern), the anxious mother of Mattea; Lorenzo (Aubrey Lally), the foolish and comical clown; General Miollis (Joe Mc Morrow), the firm and resolute army General; Friar Sylvestro (Joe Lally), a monk who had his own tales to tell and his own ends to accomplish; the lawyer (Joe Hayes), who was out to put things in their proper perspective and ensure that he received his just reward; Cavalieri Dossi (Vivien Francis), who had come all the way from Paris to make sure that Don Geronimo knew exactly what to expect; Cecco (Lionel Gallagher), Spinoso (Jimmy Gallagher), and Capt. Oddofredi (Liam Mc Kinney).

The peasants included Una Lappin, Mary Lu Raftery, Ruth Crampton, Dolores Mc Grory, Joe Meehan and Eddie Masterson. Production was by Joe Flood, who is due a word of congratulation for his thoughtful handling of the play. Offstage effects were by Eamonn Brazil; make-up by Marie Mulvihill and Monica Toher; lighting by Joe Lally assisted by Dominic mc Govern; stage manager was Liam Mc Kinney and setting by Jimmy Gilmartin.

from The Sligo Champion, March 18th, 1961