Dairine Lowney (41) is an interior de- signer from Wexford who still lives in the area. This is the third year that she has been been responsible for the flowers in the Theatre Royal:
"PEOPLE just think it's a matter of sticking some flowers in a vase and that's it. But try maintaining them in the Theatre Royal for three weeks. It's pure hardship, mainly because of the heat. So although I've been down the highways and byways pulling berries and seedheads around Wexford because I love to have the native growth, I've also been ordering exotic flowers like Heliconias and Bird of Paradise, because they can withstand the heat. "There is a kernel of volunteers who believe in `all hands on deck' and they are good hands. We are not looking for fame and fortune: we have an inherent pride in what has been established and we love the buzz and the cosmopolitan atmosphere that the Festival brings to Wexford."
David Lynch (47), is a plain clothes garda involved in crime control. He is the transport co-ordinator for the festival:
"I'M a tenor, and I've been involved in the Light Opera Festival for the last 14 years. That's how I got involved in the `heavy festival'. I'm in charge of 20 drivers, all volunteers. They are dentists, teachers, housewives. I get a list of people who need transport at the beginning of the week, and I ring around my volunteers and see who can do it. Most of the trips are to Dublin, although the Russians tend to fly into Shannon. "I like to know in advance who I'm going to be collecting at the airport, whether it's a wig-maker or a conductor. They arrive like lost children. Their driver will probably be the first Irish person they meet. Some of them don't even speak English. Others have silly questions they want me to answer, like what does `Baile Atha Cliath' mean."
Ger Lawlor (39), runs the Music Library for the festival, and is also a member of the board. He works for Telecom Eireann as a technician and is choirmaster at Bride Street Church:
"I AM the library. I do it because someone with a knowledge of music is needed here. We rent music scores from a publisher. I then make up the individual music books to send out to the performers, who have to have the music memorised before they arrive in Wexford.
"Because the operas performed at Wexford are often old or obscure, there can be a lot of fiddling around with photocopies - or even microfilm - because the full score is not available. Some of it is a pain. Still, it is a chance to work with top-class professionals. "You see the members of the NSO sitting down in front of their scores and you just hope it's right. It's a thrill - all this paper has gone through my hands, and they are turning it into music, bringing the dots to life."
David Maguire (34), is loans manager in the local Credit Union. He is front of house manager at the Theatre Royal:
"BEFORE the festival I set up a roster of stewards. There are 21 nights of public performances with between eight and 10 stewards on each night. They range in age between 25 and 75, and wear dress suits and black ties: a select body of fine Wexford men.
"Everyone is trained in first aid. We lost someone two years ago: a German man in his late 60s died of a heart attack during a performance. We were lucky to have the chief instructor of the Order of Malta there. He lifted the man out of the theatre, but couldn't resuscitate him.
"My biggest problem is with latecomers. We've had government Ministers arriving late from Dublin, even a taxi from Dublin airport with six Germans who arrived only three minutes late."
Nicky Cleary (67), former revenue collector with Wexford Corporation, now retired, is resident stage manager of the Theatre Royal:
"WE see more opera than anyone else, because we are there during all the rehearsals and all the performances. There are about 13 of us, as well as a paid stage crew (most of whom we know so well now, they are like old friends). "We are the first in the theatre and the last out. When the opera is over, we take down the set and store it; then put up the new set for the next opera the following night. We could be there until 1 or 2 a.m. We have one man who has to be up again to milk his brother's cows at 6 a.m. We have to do 40 changeovers in all, including the dress rehearsals. We also look after the scene changes during the performance, which have to be rehearsed just like the music.
"There is still nothing like the thrill of hearing a good voice. It makes the hair stand up on the back of your neck."
Phyllis McCarthy (46), is a front of house manager for the lunchtime festival recitals in St Iberius Church:
"AT St Iberius, the stars from the opera perform for 40 minutes and afterwards the audience goes and has lunch in one of four nearby hostelries. I get them in and out of the church and make sure they have their vouchers.
"I love it. It's great to meet the people, and the singing is beautiful. When the artists arrive you can see by the expression on their faces that they are wondering what this will be like in such a small town. They can't believe it's going to be such a success.
"The lunchtime concert is very intimate and special. Afterwards we bring the singer to one of the hostelries where the audience is eating. Everyone stands up and applauds. The singer is always amazed and delighted by this kind of immediate response."
