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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.
I have often heard my grandmother say that the fun of Galway races began when you were hauled up onto a sidecar, behind a lively pony, and driven at a smart pace to Ballybrit. Passengers held on tightly to each other, or to the wooden seat, as the smell of horse, and the jolting ride over rough roads gave it a carnival atmosphere. The races were a two-day meeting then yet the jarvies, or ponymen, would hang about the town for the week hoping to get a fare. As well as bringing racegoers to Ballybrit in the mornings, and home in the evenings, they also brought them to Salthill. Sometimes they carried them to the dogtrack at College Road. Either way it was a long and busy week for the ponymen who came mainly from the Moycullen area, renowned for its Connemara ponies, and passionate owners.