Student becomes lecturer - Dr. Sharon Phelan

Sharon - seated on the churn in "Fadó Fadó"

It was evening time in the small village of Finuge, near Listowel in County Kerry, as my parents’ car drew up in front of a whitewashed cottage. The sun was setting over the thatched roof and as I turned towards the cottage I saw a cobbled pathway leading to a green half-door. Inside, the sunlight streamed through the small cottage windows onto a grey flagged, stone floor. I looked around. The walls were whitewashed, the roof had black beams and there was a turf fire smouldering in a large hearth. Larger flagstones surrounded it.1 I had never seen anything like this before. After a while, my name was called and I auditioned for a place at the Teach Siamsa.

In the early days... Dance master Jimmy Smith teaching in Teach Siamsa Finuge

A week later, a letter bearing the Siamsa motif was delivered through the letter box. I had been accepted into the three-year programme at Teach Siamsa. This was to become a turning point in my life. Emotionally, it would instil an unending love for Irish folk culture. It would also provide a close circle of friends. Intellectually, it would inspire my academic work and professionally, it would influence my role in education and the arts. Although, the Tithe Siamsa, originated in the early seventies, they encapsulated a way of life which had existed for centuries. At Ahern’s Teach Siamsa, I became part of a living tradition that is ever-changing and responds to Ireland’s heartbeat. My teachers fulfilled Pat Ahern’s dream. “They captured the traditional way of life and they passed it on to the student”.

The Foxchase from "Sean agus Nua" , Sharon is on the far right.

 Recently, I published a book with Cambridge Scholars Press. It focuses on folklore and folk dance in Ireland and it culminates with the works of Pat Ahern. I want to express thanks to Siamsa Tíre for giving me the opportunity to give a lecture, about the philosophy and works of Pat Ahern, founding Director of Siamsa Tire on Friday May 30th at 7pm.

Le gach dea ghuí, Sharon Phelan.

 

 

Sharon today viewing some of the photographs on display as part of our 40th Anniversary exhibition.

Dr. Phelan lectures in ethnochoreology, drama and cultural theory at the Institute of Technology, in Tralee, Co. Kerry.

Oilean - Celebrating The Blasket Islands...

The Blasket Islands today

In 2003 a new production captured the Siamsa audience.  Oileán-celebrating the Blasket Islands marked the 50^th anniversary of the evacuation of the Blasket Islands.  Under the direction of Oliver Hurley and choreographed by Cindy Cummings this show did a national tour (2004) and also travelled to the Faroe Islands (2005) where it was well received.

  

The classroom scene from our show

With a small population of around 150 people this island, on the verge of Europe, produced three noted Irish writers:  Tomás Ó Criomhthain, Muiris Ó Súilleabháin and Peig Sayers.   

Their stories were written in the Irish Language and have since been translated into English and many other languages. Their writings were of simple Island life, their native culture, traditions, survival and the spirit of the Island.  By 1953 only 22 inhabitants remained and the Irish government could no longer guarantee the safety of the remaining few.

Our show captures the essence of the lives of that Island community.  A wealth of song, music and dance delivers a spell-binding narrative about the people of the Island. We are delighted to have Oileán as one of our four productions during our 40^th Anniversary Celebrations.

In 2013 the company took a day trip to the Great Blasket Island and what a day they had!

Here is a snippet of the show. Check out our website http://www.siamsatire.com/ for performance dates and times throughout our summer season!

Growing up in Siamsa... Meet our artistic director Jonathan Kelliher

Jonathan Kelliher

I grew up in Banemore, near Listowel in North Kerry.  The Teach Siamsa Training centre in Finuge was only three miles from my home.  I had an older sister and brother already attending the training, so it was natural that I would audition and try my luck also.

I remember I actually missed the night of the audition - I was at the Listowel races and forgot all about the them!  Luckily for me, I got a second chance and Fr Pat auditioned me on the night that classes were starting.  I passed the audition and he told me to go and join the rest of the class.  That was in 1980.  After completing my three years there I was accepted into the advanced classes in Tralee.  My first performance on the main stage in Tralee was during the summer of 1984.  The show was the original Siamsa show, Fadó Fadó.  30 years on, even though I don’t perform as regularly as I used to, I still get that buzz when I step on the stage. 

In costume for Ding Dong Dedero in 1991

 In 1989 I was offered a job with the full time company.  I remember my interview for that job very clearly.  I was in the Bog, turning turf with Martin Whelan one morning very early.  Martin turned to me and said, “You know there’s a job going in the Core Group in October, would you fancy it?”, and that was it, I got the job and thanks to Martin I’m still here.  In the early years, I performed every summer in Tralee, but also toured all over the world.  I have had the pleasure of meeting and performing for presidents, kings, queens and many famous people.  One of the most memorable would have to be Neil Armstrong who visited our theatre in 1997.

In 2000 I was made Dance Master, and then in 2006 appointed Artistic Director.

I think this is one of the great things about the Siamsa system - anyone can work their way from the training system right through the ranks and eventually become Artistic Director.  This is why the training is so important,  the idea that some young child attending the auditions this year could eventually be as lucky as I and have a career in something they really love and enjoy.  There is a very strong possibility that a future Artistic Director is performing or training with us at the moment.

The setting up of the training in 1974 was one of the most important events in the history of the company.  This training is the life blood that feeds everything we do here, and 40 years on, it is still as successful and important as it was back in 1974.

Siamsa has never been a job to me, it has always been a passion.  Yes, you get days when you would love to run away, but it has that special something that cannot be put into words, something that keeps drawing you back in. The day you lose that something is the day you walk away.

 40 years ago next October, Liam Tarrant, one of the Siamsa family, died on the stage during a ceremony marking the turning of the sod for the second Teach Siamsa training centre in Carraig, West Kerry.  Even though I never met Liam, I feel I know him.  So many people speak fondly of him.  Liam had a saying that still survives in Siamsa to this day, a saying that in a way sums up what the company is and how everyone involved since its beginnings to present day feel about it.

“Tis a great auld Siamsa”.

Let the Celebrations begin!

Young and old gathered for the celebration

Sunday last (May 11th) marked the first event in our year-long celebration of our 40th anniversary.  A gathering of founder, former and current cast members along with staff, members of the Board (past and present) and friends enjoyed a reception in the foyer before the official unveiling of the commemorative plaque.  And there were plenty of stories to be heard from across the generations!

Fr. Pat Ahern

It was a very special day, and for none more so than Fr. Pat Ahern.  A beautiful plaque was inset in the wall at the entrance to the theatre and unveiled by the man responsible for founding the National Folk Theatre way back in 1974. An RTÉ production for the series RADHARC, entitled Bímís ag Rince, was also screened on the day.  The film, dating from 1974, traced the development of the National Folk theatre and documented the building of Teach Siamsa in Finuge – the first of the training centres where the passing on of traditions in the unique Siamsa style to the next generation began.
One of the highlights of the evening was a surprise performance by founder and former members.  As the credits rolled for Bímís ag Rince, and the screen rose, a full stage of performers was revealed who then treated us to a wonderful 20 minutes of music, song and dance.  It was a Great Auld Siamsa!

(photos by Domnick Walsh)



...

Meet our stage Manager, Gemma Hurley...

Gemma Hurley - Stage Manager

Gemma has been with us as company Stage Manager since 2012, and she’s wonderful at keeping everything (and everybody) in their place backstage. 

The job of Stage Manager involves managing rehearsals, cast members and the technical team as well as liaising with front of house staff and the director of each production. Sourcing of props is a bit part of the job and, in keeping with traditions and culture, the genuine article is always best.

Some of the props backstage

It is Gemma who is given the task of sourcing original pieces, from ash hurleys to the old cast iron kettles and other everyday household items from bygone days for the show.  She is kept busy throughout the year making sure all is ready when the curtain goes up!  

All set for the show!

Apart from her Stage Management duties, she also looks after costumes for the company. Gemma is looking forward to working as stage manager for our busy 40th Anniversary Season, she is the go-to person for all involved in the shows and her communications skills are second to none.
Having completed her Degree in Folk Theatre Studies, Gemma has been a part of the technical team for eight years. 

Jimmy McDonnell recalls some changes over the years

I started my Siamsa career in 1966 as a musician playing a two row button accordion alongside Anne Sheehy from Kilflynn and Marie Kelliher from Tralee.  In the middle of our first season I was moved  to lighting where I assisted Sean Hanafin for a short while before taking over when Sean left for Maynooth to study for the priesthood. Today Fr Sean is our Dean.

Jimmy at the lighting control desk - a few years ago!!!

In those days we had a small Junior 8 Dimmer Board. Today we have a Memory Lighting Console. The Junior 8 was a small 4 dimmer unit I could control eight lights in comparison to the Memory desk today which can control hundreds of lights as well as automated lights. The Memory desk works like any home computer. It can record lighting states and play them back at the push of a button. Martin Whelan, the first General Manager always said “Mac, someday you’ll be able to control the lights from your armchair at home”. Today we can almost do that.

When I look at what we started with in the Technical Department in those early days and look at it now, huge changes have taken place - from simple lighting and sound desks to digital desks and lights. In the early days the lighting crew consisted of Billy Boyd, Jonny Ready, Sean Hanafin and myself. Des Hurley took over from me as the Technical Manager in recent years.      
         

The thatched roof of the cottage

It brings me back to my first night lighting a Siamsa show in a different venue at the Fruits de Mar festival in Kenmare in 1968.  I was a very nervous young fellow and had my reading light that I used to read my lighting cue sheet plugged into the dimmer board. When I went to black out the lights during the show, my reading light also went out, leaving me in the dark.  I couldn’t find the blackout switch to restore light. With Fr Pat Ahern behind me I clawed and groped looking for that switch, eventually finding it.  I learned after that night to always carry a flashlight whenever I’m lighting a show.

Jimmy working on the cottage of Fadó Fadó this week

In preparation for the start of the 40th Anniversary season I am repairing the Fadó Fadó set.
Over the years the structure had disintegrated, so I am replacing the old plywood with new plywood and giving it a finish to resemble a stone wall. There will be a new fire inside the cottage as well as a new bonfire, new pump/well and a stone finished wall as a ground row upstage.