Creating a new theater company is a daunting undertaking.  It’s an uphill battle of financing, programming, management, facility, staffing and more.  Some theater companies last. Some don’t. It’s a huge accomplishment if they thrive and succeed

That said, in the winter of 1992, Paul Daigneault (born in Marlborough, raised in Sandwich) gathered a few fellow alums from his days at Boston College to start a new theater group. It would be called SpeakEasy Stage Company.  Happily, it would go on to enormous success and respect.

Under Paul’s artistic leadership, SpeakEasy Stage has produced more than 160 productions, including 6 world premieres and more than 60 musicals, regularly earning some of Boston’s top theatre awards. 

As well, critics have praised SpeakEasy not only for the company’s high production values, but for its commitment to local artists and to works that center on community, equality and social justice. 

Now, after serving as the company’s Producing Artistic Director for more than three decades, Paul has decided to step down from his leadership role at the end of the current season on June 30. 

For his farewell production, he has chosen to direct the Irish musical “A Man of No Importance,” which he first produced in the BCA’s tiny Black Box Theatre in 2003.  This time, its home will be the Roberts Theater at the Calderwood Pavilion, running from February 21 – March 22.

Paul has made it an essential part of his life’s work to provide opportunities for young artists, whether they dream of being actors, directors, designers, playwrights, administrators or crew.

As part of that commitment to nurturing the next generation, his work as a teacher has brought him to Boston College, the Cincinnati Conservatory of Music, Emerson College and the Boston Conservatory at Berklee. Among his many honors and awards, he is the recipient of the prestigious Elliot Norton Prize for Sustained Excellence.

“A Man of No Importance” is set in Dublin in the 60s and tells the poignant tale of bus conductor Alfie Byrne, who has two joys in life: the poetry of Oscar Wilde and staging amateur productions with his local theatre troupe, the St. Imelda Players. 

Alfie’s life is thrown into turmoil when church officials object to the content of his production of Wilde’s “Salome” and try to shut it down.  He then finds himself confronting the forces of bigotry – and his own shame — over “the love that dare not speak its name.” 

The show’s music is by Stephen Flaherty with lyrics by Lynn Ahrens and a book by Terrence McNally, the same trio that created “Ragtime” and “Anastasia.” 

Paul recently told Boston Irish, “I chose ‘A Man of No Importance,’ as my final show at SpeakEasy, in part for its celebration of theatre as community, and also for the opportunity to make art one more time with some of my good friends and cherished colleagues.  The play also resonates with my own life, my interest in plays that center on LGBTQIA+ stories, and my great admiration for Terrence McNally, who has been the most produced playwright at SpeakEasy over the past three decades.”

He added, “I couldn't be more thrilled about the cast for this show, which features some amazing young talent alongside such Boston favorites as Aimee Doherty, Kerry A. Dowling, Jennifer Ellis, Will McGarrahan, Sam Simahk, and Kathy St. George.  

“I am particularly thrilled to be working again with Billy Meleady, who was a part of the production of ‘A Man of No Importance’ I directed back in 2003.  Besides his immense talent, musical ability and great charm, Billy also lends an air of authenticity to the piece, as he is a native of Dublin.  In fact, Billy is doubling as dialect coach for this production, helping his fellow castmates master the various regionalisms and vernacular in the script.”

Billy Meleady’s award-winning presence in the Boston theatre community is also legendary. In addition to appearing in SpeakEasy’s productions of the aforementioned, “Man of No Importance” and the Irish musical “Once,” he also appeared in the company’s acclaimed production of “The Seafarer” by Conor McPherson.

He was an integral part of the lauded Sugan Theater, working with Artistic Director Carmel O’Reilly for a full decade of productions.  Some of his other credits include “The Weir,” “Moon for the Misbegotten,” “Lonesome West,” Ronan Noone’s “The Smuggler,” and Tir Na’s praised production of “Trad,” sharing the stage with Colin Hamel and Nancy E. Carroll.

I spoke with Billy recently about the show and more.  Here’s a condensed look at our conversation.

Q: In “A Man of No Importance,” a lot of the action is set on the No. 5 bus in Dublin.  I understand you actually rode that bus growing up.  I doubt very many productions of the show can boast that kind of connection with a cast member.  Having lived there during those days, how do you find Terrence McNally’s script in creating an authenticity?

A: He nailed it. He absolutely nails it. To me, it’s so extraordinary . . . he must have emersed himself there and asked a lot of questions, all the subtleties, he just absolutely captured it . . . even like these smokey dens that the men went to. Left their wives and they’d be drinking till the wee hours of the morning.  It’s almost like speakeasys -- no pun intended there.

Q: Paul is doing the new, reimaged version of the show, without an intermission.  And you’re back playing the character of Baldy.  Is there an element of the show you look forward to sharing with audiences again.

A: The moment I’m looking forward to, to have another attempt at singing “The Cuddles Mary Gave” (about Baldy’s late wife). It’s beautifully written and I love the oddity of the big sturdy woman and the little skinny fella.   Because I’ve seen so of it much in Dublin. You think somebody’s like a mismatch, but it turns out they’re just made for each other.  I think the imagery in that song is absolutely beautiful as he talks about them, how they’d walk down the street, and all the women would be standing on the stoops, with their arms folded . . . with curlers in their hair, (saying) “Jaaaasus, would ya look at them!”

Q: One of my favorite songs in the show is “The Streets of Dublin.”

A: “The Streets of Dublin” is so beautifully penned . . . All the lamps being lit in Phoenix Park, the gas lamps.  And Mad John Maher with a face like hammered meat, but when he (sings) he could bring a man to tears . . . It really nails Dublin of the 60s and early 70s.   

Q: SpeakEasy’s original production of “Man” in 2003, which was then a coproduction with Sugan, still stands out for a lot of people. What was special for you about that first production?

A: I auditioned for a woman called Jeannie Monroe, she was the musical director.  I was actually in Dublin by telephone, and she was on her way back from New York to Boston. She pulled over.  I sang on the phone to her while my niece was banging on the door -- my niece is from Scotland.  “Billy, I want to hear you singin’ your song.” I was sweating because I really wanted to get the role.
That’s when I met Paul and honest to God, the way Paul directed that show. I didn’t see it coming, how imaginative and creative that man is. He’s absolutely outstanding . . . Paul’s vision was just beautiful . . . The legacy that he’s going to leave behind!   I have never seen anything other than an outstanding production at SpeakEasy. 
I feel honored and delighted that Paul chose a Dublin play as his last offering.

Note: Once “A Man of No Importance” concludes its run, Billy says he’s putting theater aside to concentrate on developing his own one-man variety show.  He’s been researching some wonderful songs from the 30s, 40s and 50s.  For this new show, he’ll be playing the guitar, singing, dancing, sampling some Shakespeare, lip-synching, adding audience involvement and more.  It’s a work in progress that he hopes to have ready to launch in a residency by the end of the summer.  “I get to call the shots,” he joked.  So, stay tuned.

In the meantime, catch Billy and some of Boston’s finest (and favorite) talents in “A Man of No Importance” at SpeakEasy Stage.   For tickets, visit www.speakeasystage.com