The opera has happened, without a break, every Christmas since 1944. St. Jarlath’s boasts the oldest annual musical of any secondary school in the country. From 1969 onwards, the shows were performed in association with Mercy Convent Tuam, and in 2009 the show (Hot Mikado) was produced in association with St Patrick’s College Tuam in the run up to the amalgamation. This proud tradition is one of the primary sources for the expression of musical and acting talent in the college, and has produced some exceptional talent throughout its long history. The Opera represents a fantastic experience for the students to grow in their artistic talents and appreciate what it takes to put on a fully formed show, as well as being a massive character building exercise; it brings confidence, a keen work ethic and a sense of a job well done to all students involved. Students are involved in the Opera at all stages from set and stage crew to chorus and lead parts. For many, it marks the defining and most formative experience of their time in the College.
Here is a selection of photos from some of our Operas over the years Opera photos.pdf
The first twenty five
In 1944, Fr. Christy Langan came as Dean to St Jarlath’s College. He was an outstanding actor in Maynooth and both of us picked up courage one October day to go in fear and trembling to the President’s room to request permission to produce the first Opera. Canon Guinan said, “Ye may try a few choruses this year”. We left saying, “We have won and we will do the Opera”. Without much deliberation, we decided on “The Mikado”. Dr. Cunnane concentrated on the production, Fr. Langan on the acting and myself on the music. We did “The Mikado” because it happened that we had a very talented number of principal actors, Senior and Junior. I predicted in 1944, that in my lifetime, I would never hear a better boy soprano than Padraic Killilea who played ‘Yum Yum’. Sean Tobin, as Nanki-Pooh, was a nice lyric tenor but found it hard to do justice à la Gilbert & Sullivan to the kissing duet with Yum Yum. So, Dr. Cunnane and Fr. Langan sat on the Horse Box pouffe and got the best 1944 applause for their version of the duet. Joe McGovern made a splendid ‘Pooh Bah’. Both Sean and Joe hailed from Newport.
During my years of involvement, all Soloists and Chorus members were from the College. Soprano and Alto lines were sung by the young boys, which often led to humorous results on stage. In the convent rehearsal a Soprano who needed her handkerchief, lifted up her ‘frock’ revealing long pants still worn underneath. Another ‘lady’ overshot the stage and landed via Mrs. Mooney’s violin, on my lap at the piano. The Mikado was produced in the Mall Cinema. Tickets cost four shillings each. When the male chorus marched on stage, it nearly collapsed. Drs. Mooney and Pat Prendergast were prompters. When the curtain went up at Act 2, a certain professor who had gone aloft to adjust the scenery had to remain there for the whole act. In addition, Dr. Prendergast’s new coat was burned by the dimmer. I played each Opera and we had no conductor. Our orchestra members were supplied by Tuam and Dunmore with the trumpeter from Galway. With “The Mikado”, the lovely custom started of giving the welcome cup of tea to the visitors.
The Opera changed student life in St. Jarlath’s College. Professors and students were at last free to greet one another outside class. The boys got a good musical education and I met past pupils who had fond memories of taking part in the College Opera. We have many memories to exchange and I look forward to the 1993 “Mikado” as I have looked forward to each production since 1944. The girls have added a new dimension to the Opera and may the next 50 years be as successful as the past. I still remember every note of “The Mikado” and treasure the memories.
Charles Scahill (Message in 50th Anniversary programme)
The Second Twenty Five
I had the pleasure and enjoyment of being in four of the Opera’s in my student days in St. Jarlath’s, the earlier ones under Fr. Scahill’s musical direction and the last two under the baton of the sadly missed Fr. Gabriel Charles. In those days, the three boarding schools in Tuam led very separate and segregated lives. Even to visit one’s own sister was a privilege not to be taken for granted! The two dress rehearsals took place in the Convent school halls and, if one judged by audience appreciation, were always smash hits!
When I came on the staff of the college I helped Fr. Gabriel for two years with chorus training, and played the piano in the orchestra. When he left the staff I was asked to take over as musical director. By now was end of the swinging sixties, and I did think that the all boy productions which had served so well for twenty five years had become a rather dated idea, and somewhat nervously I asked the President, Fr. Michael Mooney, if he would mind us joining up with one or both of girls’ schools for the next Opera. Somewhat to my surprise, because I did not know him well enough at the time, he was quite enthusiastic! The Presentation school were already at work on their own Opera, and had themselves decided to include young men who had been their own pupils in the primary school. So I asked that wonderful musician, Sr. Magdalen, in the Mercy Convent what she thought of the idea of their girls becoming involved in the St. Jarlath’s Opera, and again to my relieved surprise, she was warmly encouraging. Thus began a very happy partnership which thankfully looks safe for the next quarter century! The first joint production was The Quaker Girl, and we very cautiously had girls in the lead roles only: the chorus ‘girls’ were still, that year, boys in female costume and make-up. I shall never forget the beautiful, mature voice of Sheila Minogue as Prudence. We were indeed lucky to find her for our first co-production.
The following year, 1970, saw another break with tradition. At last the college had a new assembly hall/gym, and we could now stage our own shows. The Odeon Cinema era was over, enjoyable as that had been. No more walking down the town in full costume with make-up and wigs, to the amusement of the locals. No more scenery-painting in the emptied swimming pool. No more frantic last-minute fit-ups and wiring. Much of the old atmosphere was probably lost, but the convenience of one’s own hall and stage more than compensated. The Opera gained hugely, from the expertise and the unstintingly generous contribution made by so many very talented women in the Mercy Convent; on the musical side Sr. Magdalen, Marguerite Togher, and especially Sr. Eileen Walsh had been matchless.
With these changes came a certain broadening of the repertoire. Gilbert and Sullivan and perhaps Lionel Monckton will always be the backbone of school productions, but with the exception of Brigadoon in 1964, the more modern Broadway and West End shows had not been presented. But now Rodgers and Hammerstein, Frank Loesser, Irving Berlin, Cole Porter, Lionel Bart and others joined the older favourites. Some of these shows were quite challenging and difficult, but always a pleaure to attempt. Perhaps future generations will stage the contemporary ‘Pop’ style shows. To me, however, these seem to be based mainly on spectacular professional dancing. For sheer enjoyment, it’s hard to beat good old-fashioned choral, ensemble and solo singing, and strong dramatic acting. I am grateful to have the fun and fulfilment that they bring with so many young people over the years. One receives more than one gives.
Seamus Cunnane
The Third Twenty Five and beyond – continuing the tradition
The first Opera to be performed in St. Jarlath’s College, in 1944, was The Mikado. This show was reproduced for the 25th and 50th anniversaries. The 50th anniversary production was the first show with Nöel Kirrane as Musical Director and it was Joe Donoghue’s seventh Opera as Director (marking the beginning of a very fruitful partnership) and Sr. Eileen Walsh’s 18th production as chorus mistress. More ambitious shows were attempted and staged including Oliver, Fiddler on the Roof, Annie Get Your Gun, My Fair Lady and the world amateur première of Chess, breaking with the tradition of Gilbert and Sullivan shows only. Every one of the shows was an outstanding success, culminating in Jesus Christ Superstar which ran not only in The College Hall but also in the Town Hall Theatre, Galway, utilising the combined talents of past and present pupils. This show celebrated the bi – centenary of the founding of the College in 1800. Nöel and Joe willingly gave their time and talent to numerous productions, working with and nurturing the youthful creativity of the students. Their influence brought a new level of professionalism to the Opera that endures to this day.
One of Nöel’s favourite lines from a musical was “The only thing constant is change” (Jekyll & Hyde) and sadly for the College change was inevitable with the untimely passing of these two theatrical giants. So it fell upon past pupils of both Jarlath’s and the Mercy to take up the baton and continue the tradition.
The Opera continued in 2008 with Ronan Lardner as Director and Shane Farrell as Musical Director, both of whom blossomed under the tutelage of Nöel Kirrane and Joe Donoghue. Both steeped in musical theatre, they were proud to continue on with the work of their mentors. They were ably assisted by teachers from both schools. Connie Burke, a former Mercy girl, Music teacher in St. Jarlath’s College since 2008 acted as producer and chorus mistress bringing high energy and infectious enthusiasm to each school Opera. Since Shane became a music teacher himself in recent years, she has taken over the musical director duties while Shane continue to be band leader. The wonderful work in the Mercy has now been passed on to past pupil and Music teacher Mary Murphy ably assisted by Rachel Brennan who continue the legacy of Sr. Eileen. John Duggan, a former student of St Jarlath’s and a former staff member of St Patrick’s, himself a former Opera stage manager, is involved in the management of stage crew, where students learn what it takes to put on a polished production, because without the background team there would be no show! He also plays bass in the orchestra! Indeed, it is probably also true to say that Connie, Mary and John would not be as involved in musical theatre today were it not for the influence of Joe, Nöel and Sr. Eileen. A recent addition to the Opera crew has been Laura Hurley who does trojan work sourcing costumes and props. This new team has embraced the modern musical bringing to life shows such as West Side Story, Evita, Billy Elliot, Les Miserables and The Phantom of the Opera while not forgetting such classics as Oliver!, Carousel and The Pirates of Penzance.
Tradition has always played a significant role in the annual staging of the Opera. The town of Tuam associates Christmas with the Opera and no Opera was ever complete without the cup of tea and buns after the show a custom that continues today since its inception in 1944. No show is ever staged without enormous goodwill, generosity and sacrifice by those involved. Their reward is an appreciative audience and a full hall. Every year we look to a new horizon from the shoulders of the present generation of students and teachers. Is faoi scáth a chéile a mhaireann na daoine (People live in each other's shadows). The tradition lives on and long may it continue.