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Geraldine Neeson, whose family kept theatre people when they visited Cork, described Mícheál MacLiammóir ‘as beautiful as a young god’, and his companion Hilton Edwards as a man endowed ‘with exuberant spirit and all-embracing gestures,’ diplomatically hinting that perhaps he was somewhat less prepossessing.

For three years after the opening of the Gate Theatre in Dublin Mícheál MacLiammóir continued to work for An Taibhdhearc. He travelled to Galway as often as three times a week. Despite the Gate's rave reviews for its first play Peer Gynt, for which Mícheál designed its 'symbolic' scenery, money was slow to come in. Mícheál needed the salary that An Taibhdhearc offered. The Minister for Finance, Ernest Blythe (who was soon to take over the running of the Abbey Theatre), and who had taken such interest in the fledgling Galway project, urged its directors to offer MacLiammóir full-time employment. But MacLiammóir felt that his destiny was in Dublin. The Gate opened later in 1928, the same year as An Taibhdhearc, offering Dublin audiences the best of European and American theatre, and rapidly becoming a venue for a new wave of talented Irish writers.