Michael Collins as presented by Gorey Musical Society

Michael Collins as presented by Gorey Musical Society

Date of Adjudication: Wednesday 10th April 2024. 

A very good achievement of Director, Stephen Acton, with this production was the crystal clear parallel he drew between the story of Michael Collins and the story of Cathleen Ni Houlihan. This was the first time I have watched the show and fully grasped the link between the two, and the true relevance of the Abbey Players, performing their scenes as Collins reads the play to Joe Emmet. The contribution that such clarity added to the story was remarkable. Yeats himself, had he seen it, would have been delightfully flattered. More importantly, it showed Stephen Acton’s insight and the thorough exploration he had done on the text. 

The show visually and technically corresponded with the mood and atmosphere of the drama, a dark time in Irish history, played in dark and foreboding tones. The set was beautifully constructed, with its raised playing area up centre, used as the Abbey Theatre stage, among other things, managed by Stage Manager Paul Doran. The set was beautifully painted, and the screen centre allowed for good location images and news reel photographs to be shown throughout the production. The bleedings stones in the first scene were a very effective touch. 

Costumes were similarly in keeping with the general tone. Military attire, day outfits of the working people, and the sharper suits of the politicians, were all totally suitable and in order, reflecting the era of the show. Where necessary, wigs and hairpieces were good and appropriate, and make up seemed natural. What made a big difference to the visuals of the show was the wealth of weaponry, and other appropriate and well-sourced props essential for the story. There was so much good work done on detail. 

Musical Director, Conor McCarthy, used excellent keyboard effects to give the score that true Celtic flavour, supported by a very fine orchestra who played with good passion and strong rhythmic awareness. At all times, they were a fine accompaniment to the action, never over powering the vocals from the stage. Those vocals were further testament to a score well rehearsed and well-performed, by a very impassioned chorus. With so many high-achieving soloists in the principal line, this show was a musical delight. 

That he had a look, from a distance, not unlike the Big Man himself, was certainly a benefit to Jordan Bass being convincing as Michael Collins, but it was his acting that really sealed the deal. There was a real fire and a passion in his delivery, and not for one second would you have doubted his commitment to his cause. Neither would you have doubted his commitment to Kitty Kiernan, and the tragedy of their relationship was very well-played, as was his fractured friendship with Harry Boland. But it was his exchanges with De Valera that were particularly strong and brought out his true character. If the real Michael Collins could have sung, I’m sure he would have been happy to have had a voice as good as Jordan’s. 

As Kitty Kiernan, April Kelly looked and sounded excellent, in a role that didn’t really stretch her to the limits of her acting abilities. She managed the love-triangle situation very comfortably, and despite the sincerity of her love for Collins, her grief at the demise of Boland was palpable. Beautifully expressive and relaxed on the stage.

Chris Currid gave a wonderful performance as Harry Boland, joyous in his love for Kitty and in his friendship with Collins, but the strength of his acting was best illustrated with his bitterness at being betrayed by the two people he loved the most, and through it all, his vocals were sublime. 

Having enjoyed the performances of Ronan P. Byrne in comedy roles in the past, it was refreshing and enlightening to see him in the far more serious role of Eamon De Valera. He did a great job of achieving a physical resemblance to the former President, and in capturing his somewhat dour countenance. He played this role strongly enough for me to dislike him intensely be the shows end. 

Michael O’Gorman, in the role of Joe Emmet was, for me, the performance of the night. In a show where darkness and foreboding dominates much of the action, Joe Emmet was the touch of lightness that relieved the tension. It was the sheer sense of good-natured decency that made his character so heart-warming. It combined a loyal and passionate man with an almost child like sincerity, and Michael played it superbly. His casual, almost off-hand delivery of some very funny lines and reactions was slick and brilliant. When Collins died, it was Emmet for whom my heart ached the most. 

Thanks to good direction, as mentioned, the characters of Bridget (Jennifer Lee), Peter (John Young), Delia (Laura Doyle), Michael (Thomas Furlong) and Mother Ireland (Marion Murphy, were much more relevant and beautifully realized by the performers. Apart from their fine Yeats characters, they contributed so efficiently throughout the rest of the action. 

There were other worthy contributions, from Justin Grimes as Cathal Brugha, Rónán O’Dubhghaill as Arthur Griffith, Paudie Breen as The Viceroy, Maria Forrest, Aine Kinch and Megan Mitten as Kitty’s sisters, Brian Cooney as The Volunteer and Zarah Kelly as Countess Markievicz. 

The chorus were very strong in delivery of their vocals, giving passion to their lyrics, and even stronger as a physical acting presence throughout the show. They were particularly impressive in the civil war scenes, reacting with great authenticity to the shootings and in the battles. 

Michael Collins is more of a mood piece than a dance show, and while the dance numbers were limited, Choreographer, Megan Lopez, got the balance just about perfect, by not over choreographing the show. The touches of Irish ballet here and there were delightful, and the formal dance when Collins was in England was well-designed and nicely performed. but for the most part, the choreography consisted of well-organized chorus movement and well presented pictures. The men’s working song, was very effectively performed, 

The lighting of the show was very good. Time had obviously been taken to plot with care, making sure that all the important dramatic scenes were well highlighted, while still allowing for dark shadowy atmospheres, with good subtle use of colours. The effective use of haze helped to create some lovely pictures. The projections were also very clear and well used. There were no problems with the sound system, and the timing of sound effects, gunshots, etc, was very good. 

I’m quite sure the people of Gorey, and the visitors from other societies, really enjoyed the passion that emanated from the stage at this wonderful production of Michael Collins. I’m indebted to you all for making me appreciate the show more than I have in the past. Great work, Gorey.

Peter Kennedy

Gilbert Adjudicator 23/24

Photos by Darragh Carroll // Thomas Clare