Sligo Unknown Players in “Aftermath”

“Aftermath”, which was performed by the Sligo Unknown Players in aid of the Forthill School Fuel Fund, is not T. C. Murray’s best play, but it is a very good play indeed. This being so, the producer and his cast had much to do to meet the demands of their author, for, while good acting, and clever production, can sometimes get a poor play across, a good play requires sustained effort and an almost inspired touch, if it is not to be an artistic failure – its intrinsic merit, which is apparent, only shows up the weaknesses, if any, of the presentation. The production presented by the Unknown Players was, on the whole, satisfying and successful in spite of some lapses. The directing of one of the actresses was almost unforgivable and the last moments of the play were practically thrown away. The finality of that closed door at the very end of the play demanded a poignancy that was missing. Still, the overall impression was one of sincerity and feeling.

There are two schools – two major schools – of thought concerning the importance of the set. In previous productions and again in this one, the Unknown’s producer inclines to the school which believes that the play, and not the set, is important. The almost Spartan discomfort of the sitting room in Act 2 was amazing. This room, occupied by a young woman interested in literature, was presented without as much as a shelf, to say nothing of a table, where books could be placed. The flowers on the piano, and in the corner, near the entrance from the hall, only accentuated the poverty of the set. Perhaps in a play such as this, the producer tends to make his point by a certain amount of starkness but what he shows his audience should at least be acceptable, if not entirely credible.

The acting was in general quite good and it was obvious that the cast had studied the characters they portrayed with care and attention. It is more than strange, however, that in a play, which has only seven characters, the same actress played two very divergent roles. This was a great mistake. Surely the group is not so poor in members that an actress to play the less taxing of the two roles, could not be found. Kitsy Dowling, as Grace Sheridan, gave a remarkably good performance. She acted thoughtfully and impressively, and in Act II, where she is on the stage nearly all the time, conveyed by voice and movement the varied emotions besetting her. As Mrs. O’ Regan, Gretta Dunleavy portrayed skilfully, and with great economy of gesture, the mother, who put pride and land hunger before her son’s happiness. This part calls for restrained, but intense, playing, and on the whole, Gretta Dunleavy made an admirable job of the part.

The part of Myles O’ Regan, one of Murray’s great parts, was just a little to much for Seamus Lee. His performance was competent and it was clear that his playing was sincere. This part demands, however, acting of the highest quality and a projection of feeling that should grip and electrify the audience; this was missing in the part as played. The producer must take the blame for turning the part of Mrs. Mc Carthy into a caricature, and allowing the actress who played it, to tear in and prance about the stage, providing a source of embarrassment to the audience which had seen her capable and intelligently decorous performance in Act I. This piece of directing was a spanner in the working of a good production.

It was good to see Charlie Hughes in a part again. He gave an effective, if stagey, portrayal of Dr. Manning. The choice of Vera Parke to play Mary Hogan was a good one. She was a complete contrast to the actress who played Grace Sheridan and brought out the contrast in her acting. The somewhat unrewarding roles of Mrs. Dillon and Hannah Geary were well played by Doreen Tracey and Rita Sweeney.

from The Sligo Champion, by Frank Calder, April 2nd, 1960