By Karina Holton
Published in Studia Hibernica, January 2025.
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Abstract

David (Davy) Rees, a London-born actor, quickly endeared himself to Irish audiences when he appeared on the Dublin theatre scene in November 1830. His career flourished as a comedian, with Irish audiences embracing his talent for low comedy—a demanding genre—requiring not only acting skills, but also the ability to sing and dance. Michael Booth describes the low comedian as a ‘farce actor … who was energetically ludicrous or phlegmatically droll, and the helpless victim of chance and misunderstanding’, a description that perfectly fits Rees’s style. Excelling in this role, Rees established a unique rapport with his audience. His comedy relied on simple, yet effective, gestures—a well-timed wink or a specific action that could send spectators into fits of uncontrollable laughter. Contemporary accounts highlight his extraordinary ability to leave audiences ‘convulsed with laughter’ and maintain the theatre ‘in continuous roars of laughter’ so intense that spectators ‘laughed until [they] forgot what [they] came for’. These qualities exemplified the essential traits of successful comic actors of the period, and Rees embodied them with remarkable skill. However, Davy Rees’s legacy as an actor transcends his comedic performances. His career serves as a valuable lens for understanding the complexities of performance art within its historical context. His life and work encompass historical, cultural and social dimensions that are essential for understanding Ireland’s theatrical heritage. Rees’s story provides insight into early nineteenth-century Irish theatre, its audiences, the challenges faced by performers and managers and the theatre’s pivotal role in reflecting and shaping the cultural values of the era.