As a teacher, Dignam has over twenty years of experience working with students and researchers at all levels. At IADT, he serves as the Head of the Department of Film & Media, Chair of Film & Television, and Irish Course Director on the Erasmus+ Joint Master of Art in Cinematography.
In 2021, Dignam becomes IADT’s Programme Director of FilmEU, the European University for Film and Media Arts. FilmEU represents a pioneering approach to arts and culture education, uniting eight higher education institutions from across Europe. FilmEU has grown into a transformative initiative that enhances the academic landscape for film and media while addressing critical societal issues such as sustainability, inclusion, and digital transformation.
Dignam and his partner, Hugh Walsh, are one of the first couples to enter into civil partnership in Ireland, and the first to do so after the mandatory three-month wait (six previous couples are granted exemptions on compassionate grounds).
The RMS Royal Adelaide, captained by John Batty, leaves Cork fully laden with cargo and about 250 passengers on Wednesday, March 27,1850, touching off at Plymouth, Devon, England, on Thursday evening. By the time the ship leaves Plymouth for London at 3:00 a.m. on Friday, March 29, there are almost three hundred deck passengers.
The ship is totally lost at about 11:00 p.m. on Saturday, March 30 on Tongue Sands north of Margate, Kent, England, with the loss of all on board. News only reaches London late on Sunday as the river pilot waiting for the ship happens to meet a Deal, Kent, pilot, Charles Gillham, who reports seeing a ship of a similar description in distress the previous evening (The Illustrated London News, April 6 and 13, 1850).
The dead include more than one hundred fifty deck passengers from Ireland, during a time when the Great Famine is at its height.
(Pictured: “The Wreck of the Royal Adelaide,” illustration for The Illustrated London News, April 13, 1850)
Charlotte Brooke, author of Reliques of Irish Poetry, a pioneering volume of poems collected by her in the Irish language, with facing translations, dies in Longford, County Longford, on March 29, 1793, of a malignant fever.
Brooke is born around 1740 in Rantavan House, Mullagh, County Cavan. She is one of twenty-two children of the writer Henry Brooke, author of the play Gustavus Vasa, and Catherine Brooke (née Meares) of County Westmeath. Only she and her brother Arthur survive childhood.
Brooke is educated by her father and immerses herself in reading history and literature at an early age. While the rest of her family is sleeping, she often goes down to the study where she spends hours reading.
Brooke is part of the first generation of the ProtestantAnglo-Irish settler class who take a strong interest in the Irish language and Gaelic history. Her primary interest in Irish language and literature is generated by her hearing it being spoken and recited by the labourers in County Cavan and on the County Kildare estates where her family moves around 1758. She is led to the study of the Irish language, and in less than two years she finds herself in love with it. From reading Irish poetry and admiring its beauties, she proceeds to translate it into English, one of her earliest efforts being a song and monody by Turlough O’Carolan, which appears in Joseph Cooper Walker‘s Historical Memoirs of Irish Bards (1786).
Brooke, who is frail herself, takes care of her father after her mother dies in 1773. Meanwhile, the family has moved back to County Cavan, where they begin living in a house they name Longfield which has been built near the Rantavan Estate. A few years after her father dies in 1783, she runs into financial troubles, after a model industrial village set up in County Kildare by her cousin Captain Robert Brooke goes bankrupt in 1787. Walker and other members of the recently created Royal Irish Academy (RIA) seek to make an income for her, but she realises she has to rely on her writings and translations.
In 1792, though in declining health and poor circumstances, Brooke publishes a selection of her father’s writings in three volumes, prefacing the work with a memoir of her father and a defence of his reputation as a writer. She also publishes a direct and simple presentation of Christian doctrine for children using her father’s didactic method, The school for Christians in dialogue for the use of children (1791). She dies of a malignant fever on March 29, 1793, at Longford, County Longford, in the home of the Brownes, friends with whom she has lived for some years.
Bushnell is one of four children of John Kavanagh and Evelyn (née Ledwidge). Her father is a motor mechanic with a business on Arnott Street, Portobello, with the family living in Milltown. She dances on the stage of the Theatre Royal as a child and is a junior Irish champion dancer. She attends the St. Louis convent school in Rathmines, where she performs in plays and musicals and sings in the school choir. The nuns disapprove of her musical influences and try to dissuade her interest in jazz and “the music of the night.” Due to the family’s financial circumstances, she leaves school at the age of 16 and takes a job as a typist. She marries Tony Bushnell in April 1961. He is a salesman who shares her interest in music. The couple moves to Templeogue, and have a daughter, Suzanne, and a son, Paul. Paul is now a session musician based in Los Angeles, and Suzanne sings with a female vocal harmony group, Fallen Angels.
Bushnell continues to perform in amateur musicals, and from the early 1960s she sings with an Irish céilí band. With help from her husband’s musical family, she sings in Dublin jazz clubs from 1967, emerging as a well-respected jazz and blues vocalist and cabaret performer. She competes in the national song contest in 1968 singing Ballad to a Boy and becomes a resident singer in the RTÉ Light Orchestra. By the late 1960s, she is one of the busiest singers in Ireland, singing jingles for radio and TV commercials, and featuring on showband records as a backing singer. She is a regular guest on RTÉ television variety shows from 1970, including hosting Girls, girls, girls.
From 1972 to 1974, Bushnell is part of a group called Family Pride, which is a group of session musicians who record together regularly. They compete in the 1973 national song contest, playing in Dublin venues and on radio shows. The group has two top ten Irish hits. Their 1973 album, Family Pride, is not a chart success, however. She represents Ireland at a number of international contests and festivals as a solo artist, releasing a few singles and an unsuccessful album with CBS Records, Are You Ready (1977). She is a backing singer for two of Ireland’s entries to the Eurovision Song Contest in 1974 and 1980. She is a regular in stage musicals from the mid to late 1970s, in productions such as the tribute shows to Jacques Brel (1974) and Bing Crosby (1978), sometimes performing alongside her brother John Kavanagh. From the late 1970s she appears in pantomimes with Maureen Potter.
In 1984 Bushnell stars in a musical based on the life of Édith Piaf, No Regrets, written specially for her by Leland Bardwell. She is lauded for capturing Piaf’s stage presence and husky voice. The show suffers when it has to move from the Gaiety Theatre to the National Stadium. She reworks it into a successful one-woman show called The Little Sparrow and also devises a one-woman tribute to Judy Garland. Her cabaret act in the late 1980s is highly successful, featuring big numbers by Brel, Garland, and Piaf. Due to her talent at singing blues and jazz, she is awarded the freedom of New Orleans by its mayor in 1986.
Bushnell struggles with depression brought on initially by an underactive thyroid and later exacerbated by her father’s death and her husband’s unemployment in the late 1980s. Disheartened by the lack of recognition in Ireland and her family’s financial difficulties, she considers emigrating or returning to her career as a typist. To aid with her depression, she takes up painting in 1992, holding a number of exhibitions in Dublin. She continues to sing regularly until her death, often at events for charity. She is awarded the Cheshire Foundation award in 1994 for her charitable work. She also appears in the film Agnes Browne.
Linda Martin, Northern Irish singer and television presenter, is born in Belfast, Northern Ireland on March 27, 1952. She is best known as the winner of the 1992 Eurovision Song Contest during which she represents Ireland with the song “Why Me?,” the first of a record three consecutive wins by Ireland. She is also known within Ireland as a member of the band Chips.
Martin is of Irish, Scottish and Italian ancestry. Her father’s family’s surname is originally Martini. Her paternal great-grandfather, Francis Martini, is born in Dublin to immigrants from Saronno, north of Milan, Italy. Two of her maternal great-grandparents, William Green and Elizabeth Nangle, have a coal-mining background and transferred to Belfast from Larkhall, Scotland.
Martin begins her musical career when she joins the band Chips in Omagh in 1969. They quickly become one of the top bands in Ireland on the live circuit, and release hit singles “Love Matters,” “Twice a Week” and “Goodbye Goodbye” during the mid-to-late 1970s. In 1972, she leaves Chips to be a vocalist with the new group Lyttle People but rejoins her former bandmates the following year.
The group appears on Opportunity Knocks in 1974 and appears a number of times on British television promoting their singles, but never scores a UK hit. With multiple entries to the Irish National finals of the Eurovision Song Contest, the band carries on into the 1980s. They score a final Irish hit in 1982 with “David’s Song (Who’ll Come With Me),” after which Martin leaves when she wins the Castlebar Song Contest with “Edge of the Universe” in 1983. From this point, she concentrates on a solo career as well as occasional live appearances with Chips until they recruit a new lead singer, Valerie Roe, in the late 1980s.
Martin participates in the National Song Contest four times as a member of Chips; however, they do not score successfully. She participates another four times in the contest as a soloist and once more as part of the group “Linda Martin and Friends.” With nine participations, she has been the most frequent entrant in the National Song Contest’s history. She wins the contest twice, going on to represent Ireland twice at the Eurovision Song Contest.
The first of these victories is in 1984 with the song “Terminal 3,” written by Johnny Logan. The song comes in second in the final, being beaten by eight points. “Terminal 3” reaches No. 7 in the Irish charts. The second victory is in 1992 when her song “Why Me?,” also written by Logan, goes on to win the final in Sweden. This becomes Ireland’s fourth victory in the Eurovision Song Contest, and the song reaches No. 1 in the Irish chart as well as becoming a hit in many European countries.
Martin is, at the time, one of only three artists to finish both first and second at Eurovision, behind Lys Assia and Gigliola Cinquetti. Since then, only Elisabeth Andreassen and Dima Bilan have achieved this, raising the number to five.
Martin is one of the hosts on the RTÉquiz showThe Lyrics Board and also serves as one of Louis Walsh‘s behind-the-scenes team on the first series of ITV‘s The X Factor. She also serves as a judge on the first, second and fourth seasons of RTÉ’s You’re a Star and on Charity You’re a Star in 2005 and 2006. While she is dismissed from later seasons, speaking on Saturday Night with Miriam on RTÉ television on July 28, 2007, she says that she is “open” to being invited back to the show. She does not rule out a return to Eurovision following Ireland’s dismal performance in the 2007 contest, finishing last with only five points.
During the interval of Eurovision 2013, the host Petra Mede presents a light-hearted history of the contest, during which she explains to viewers that Johnny Logan had won the competition three times, in 1980, 1987 and 1992. Appearing alongside Linda Martin in some vintage footage she jokes that he had won the third time disguised as a woman, saying, “I recognise a drag queen when I see one.” The joke proves controversial, particularly in the Irish media. However, on June 1, 2013, during an appearance on RTÉ’s The Saturday Night Show Martin says that she has actually benefited from all the publicity. On the same show she performs a cover of the song “Get Lucky” by Daft Punk.
Martin also appears in pantomime, in Dublin. She stars in Cinderella as the Wicked Stepmother, Snow White as the Evil Queen and Robin Hood as herself, at the Olympia Theatre. She tours Menopause The Musical with Irish entertainer Twink. While on tour, Twink describes Martin as a “cunt” during a tirade in May 2010. The two had been friends for 30 years but both say afterwards that they have no plans to speak to each other again.
Kearney is the third of five children. He has an older brother, Richard, a younger brother Dave (who plays for Leinster) and a sister, Sara, the youngest of the five children. His elder brother Ross dies at the age of six following an accident in 1988. He is a seventh cousin of former U.S. PresidentJoe Biden.
Like many of his peers, Kearney gets involved in athletics at an early age. The dominant sport in the area is Gaelic football. As a youth, he plays Gaelic for Naomh Muire, and in the Cooley Kickhams underage setup, before graduating to the Cooley senior football team at the age of 17 in 2004 and also Louth at minor level.
Kearney attends Clongowes Wood College in County Kildare for his secondary education. After his Leaving Certificate he moves to University College Dublin (UCD) on a sports scholarship, where he plays for the rugby team. He graduates in April 2010 with a Bachelor of Arts degree in economics. In 2005 he helps the U-20s team win the McCorry Cup, beating Dublin University Football Club (DUFC) in the final. In 2018, he is awarded the UCD Alumni Award in Sport.
Kearney plays for Leinster at both schoolboy and U-19 level before going on to represent them as a senior. He scores a hat-trick of tries on his debut for Leinster in a pre-season friendly win over Parma.
Kearney makes his Celtic League debut for Leinster in 2005 in a 22–20 defeat away to the Ospreys. He makes 32 appearances in the competition, scoring eight tries, with three penalties during a period in September 2006, when usual place kicker, Felipe Contepomi, is injured. He plays in his first Heineken Cup game in a 19–22 defeat against Bath at the Royal Dublin Society (RDS) on October 22, 2005. It is the first of ten appearances scoring ten tries in the process. He is part of Leinster’s Heineken Cup winning team in 2009 but misses the 2011 final due to injury. On May 21, 2012, the day after Leinster wins their second straight Heineken Cup, he is announced as the ERC Player of the Year for 2012. During the 2011–12 campaign he starts all nine European matches scoring six tries. He is crowned Leinster player of the year for the 2011–12 season. He confirms his departure from Leinster on September 24, 2020.
In late September 2020, it is confirmed that Kearney has signed a one-year contract with Australian side Western Force. He makes his Force debut in an 11–27 defeat to the Brumbies on February 19, 2021. He announces his retirement from rugby after one season with Western Force in Super Rugby AU and Super Rugby Trans-Tasman. Following his retirement, he returns to Louth GAA club Cooley Kickhams where he begins training in August 2021 for the first time since 2005.
Kearney represents Ireland at schoolboy and U-19 level, and tours with Ireland A in the 2006 Churchill Cup. He is first called into the Irish training squad for 2005’s autumn internationals but does not play. He is named in the Irish squad to the 2007 summer tour of Argentina and earns his first cap against Argentina on June 2, 2007, in a 16–0 defeat. During the 2008 Six Nations Championship he scores two tries, one against Scotland and one against England. He is a member of the victorious Ireland team that wins the 2009 Six Nations Championship, Triple Crown and Grand Slam. One of the most famous incidents in his career is a high tackle incident involving Italy‘s Andrea Masi in the first minute of a game. The incident is taken as an indication of the danger posed by Kearney in attack. He misses almost a year – from November 2010 until August 2011 – due to a knee injury that requires surgery.
In the 2011 Rugby World Cup, Kearney is selected but is injured for the first game against the United States. However, he plays in all the other matches which take Ireland through to the quarterfinals, in which they are knocked out by Wales, 22–10. He is selected in the Ireland squad for the 2012 Six Nations Championship and named in the starting team to play Wales in the opening match. He plays in all the other games, which see Ireland finish third in the table. He is also in the first Irish rugby team in 39 years to beat Australia on Australian soil, in the 2018 summer series. He is named in the Ireland squad for the 2019 Rugby World Cup in Japan, starting three of Ireland’s five matches and splitting time at fullback with Jordan Larmour.
Kearney is named in the British & Irish Lions squad for the 2009 tour to South Africa. He makes his Lions test debut as a substitute in the 26–21 first test defeat in Durban. Due to an injury to Lee Byrne, he is selected again for the second test in Pretoria. He scores the only try for the Lions in a 28–25 defeat. He then plays in the final test in Johannesburg which the Lions win 28–9. On April 30, 2013, he is named in his second British & Irish Lions squad.
Kearney marries Jess Redden in 2021, and their son is born in 2023.
O’Connor is one of five children of Irish Republican Brotherhood (IRB) Supreme Council member and later MPJames O’Connor. He is IRB treasurer in 1870 and party to the discussions on the New Departure, a collaboration between constitutional and physical force nationalists, the open and the secret movements. Her uncle, John O’Connor, is a leading member of the Supreme Council.
In 1890, when O’Connor’s father is a journalist, her mother, Mary O’Connor, and four of her sisters – Annie, Aileen, Kathleen and Norah – die after eating contaminated mussels gathered on the seashore near where they lived in what became known as the Seapoint tragedy. She becomes violently ill, but survives.
O’Connor travels to London after a falling out with her stepmother six years later. She finds work as a civil servant and a paid speaker for the Liberal Party, through which she meets Crompton Llewelyn Davies, adviser to David Lloyd George and solicitor to the General Post Office, brother of Arthur Llewelyn Davies and uncle of the boys who inspire the creation of Peter Pan. They marry on December 8, 1910. The marriage produces two children: Richard and Catherine.
Davies is an orthodox home ruler but is radicalised by the 1916 Easter Rising. Davies and her husband raise funds for Roger Casement‘s legal defence and later lobby for his death sentence to be commuted. She is saluted as one of the “fond ones” in a letter from Casement to Margaret Gavan Duffy on the eve of his August 3, 1916, execution in Pentonville Prison.
Following the Easter Rising, Davies takes her two children to Ireland and purchases Furry Park, a crumbling mansion near Dublin. She collaborates with Michael Collins during the Irish War of Independence and her home in Clontarf becomes one of Collins’ many safe houses as he directs the war. She is arrested and imprisoned in 1920. Collins also stays at her Portmarnock house, using it as a safe house.
Davies says in later life that she and Michael Collins had been lovers, but the historian Peter Hart claims her to be a stalker. It has been suggested that Collins is the father of her son Richard. Historian Meda Ryan denies this saying “Letters from him and a phone call confirmed that he was born December 24, 1912, before his mother met Collins.”
Historian Tim Pat Coogan in his book Michael Collins says that Davies claimed on the night that Collins learned that Éamon de Valera was going to reject the Anglo-Irish Treaty “he was so distressed that I gave myself to him.” Coogan refuses to give a source and in the footnotes, he says, “Confidential source.”
Davies makes a lasting contribution to Irish literature with a translation, with George Thomson, of the Muiris Ó Súilleabháin book Fiche Bliain faoi Bhláth as Twenty Years a-Flowering. She is thought to have helped Collins write his book The Path to Freedom.
Stewart is born on December 16, 1825, the second of two sons of Charles Frederick Stewart of 6 Pitt Street (now Balfe Street), Dublin, librarian of King’s Inns. Nothing is known of his mother other than that she studies music with one of the Logier family, presumably the noted military musician and piano teacher Johann Bernhard Logier, a resident of Dublin from 1809.
Stewart is educated at Christ Church Cathedral school in Dublin, where he is a chorister. He begins to accompany choral services in his early teens, and in 1844 is appointed organist of Christ Church Cathedral and the Trinity College Dublin (TCD) chapel. In addition, in 1852 he becomes de facto organist of St. Patrick’s Cathedral, and holds all three positions concurrently for the rest of his life.
Stewart’s first conducting appointment is with the Dublin University Choral Society in 1846, to which he later adds similar appointments in Dublin, Bray, and Belfast. He is active as a teacher, both privately and from 1869 at the Royal Irish Academy of Music (RIAM), and as a critic with the Dublin Daily Express. On occupying the University of Dublin‘s chair of music in 1862, he takes steps to formalise requirements for the music baccalaureate, introducing examinations in a modern language, Latin (or a second modern language), English (literature and composition), arithmetic, and music history. As a result, though not until 1878, similar examinations are introduced at the University of Oxford and the University of Cambridge. In his professorial capacity he delivers in the 1870s public lectures on Bach, Handel, Wagner, church music, music education, organology, and, most notably, Irish music, in which he reveals an uncanny knowledge of the wire-strung harp and the uilleann pipes. He also contributes entries on Irish music and musicians to the first edition of George Grove‘s A Dictionary of Music and Musicians.
By all accounts, Stewart is a very adept musician, having perfect pitch, a formidable memory, and astonishing facility in transposition. Apparently an autodidact, he is the first Irish organist to cultivate pedal technique, while in the art of improvisation both Joseph Robinson and Sir John Stainer hold him to be the equal of Mendelssohn.
Intent on broadening his musical horizons, Stewart travels widely. From 1851 he is a regular visitor to London, and from 1857 makes frequent trips to Continental Europe, attending the Beethoven and Schumann festivals at Bonn in 1871 and 1873 respectively and Wagner’s first Bayreuth Festival in 1876. On the initiative of the Dublin University Choral Society, he is conferred with the simultaneous degrees of Mus.B. and Mus.D. at a special ceremony on April 9, 1851. On February 28, 1872, he is knighted at Dublin Castle by John Poyntz Spencer, 5th Earl Spencer, a social climb that Stewart, who has no independent income, can afford only by accumulating professional appointments and by relentless private teaching. In addition to successive townhouses in the vicinity of Merrion Square, he owns a smaller property on Bray Esplanade, named Holyrood.
Among Stewart’s compositions, his disciple James Culwick lists about forty part songs (of which several win prizes), more than twenty solo songs, fifteen anthems, several church services, a quantity of shorter liturgical music, and sixteen choral cantatas with orchestra. Three of the cantatas set texts by John Francis Waller: the 24-movement A Winter Night’s Wake (1858), The Eve of St. John (1860) and Inauguration Ode for the Opening of the National Exhibition of Cork (1852) for the opening of the Irish Industrial Exhibition in Cork. Other occasional pieces are Who Shall Raise the Bell? (The Belfry Cantata) for the inauguration of Trinity College campanile in 1854, Ode to Shakespeare (1870) for the Birmingham Triennial Music Festival, Orchestral Fantasia (1872) for the Boston Peace Festival, How Shall We Close Our Gates? (1873) for the Dublin Exhibition and Tercentenary Ode (1892) for the tercentenary of Trinity College Dublin.
Though Stewart destroys many of his works, his surviving music is consistently well crafted, and the rapid decline in the popularity of the odes is at least partly attributable to the tawdry and ephemeral character of their texts. Yet despite his esteem for Wagner, he never shakes off the conservative stylistic influences of Handel, Beethoven, and Mendelssohn, and the posthumous performance of his music has been restricted almost entirely to the Dublin cathedrals.
In August 1846 Stewart marries Mary Emily Browne, the daughter of Peter Browne of Rahins House, Castlebar, County Mayo. They have four daughters, of whom the eldest dies in 1858. Following Mary’s death on August 7, 1887, he marries on August 9, 1888, Marie Wheeler of Hyde, Isle of Wight, the daughter of Joseph Wheeler of Westlands, Queenstown (now Cobh).
Stewart dies in Dublin on March 24, 1894, and is buried at Mount Jerome Cemetery alongside his first wife and eldest daughter. Portraits of him are in the possession of the Dublin University Choral Society and the Royal Irish Academy of Music (RIAM), and his statue, erected on Leinster Lawn in 1898, still stands.
(From: “Stewart, Sir Robert Prescott” by Andrew Johnstone, Dictionary of Irish Biography, http://www.dib.ie, October 2009)
McLaughlin is one of ten children of Patrick McLaughlin, butcher and cattle dealer, and Annie McLaughlin (née Doherty). He starts singing in local churches in the Bogside at the age of seven, and as a teenager adds two years to his age to enlist in the Irish Guards, later serving abroad with the Palestine Police Force, before returning in the late 1930s to join the Royal Ulster Constabulary (RUC).
Known as The Singing Bobby, McLaughlin becomes a local celebrity before starting to work in the UK variety circuit, where he also plays summer seasons in English seaside resorts. The renowned Irish tenor John McCormack (1884–1945) advises him that his voice is better suited to a lighter repertoire than the operatic one he has in mind and urges him to find an agent. He finds the noted impresario Jack Hylton (1892–1965) who books him but is unable to fit his full name on the bill, thus Joseph McLaughlin becomes Josef Locke.
Locke makes an immediate impact when featured in “Starry Way,” a twenty-week summer show at the Opera House Theatre in Blackpool, Lancashire, England in 1946 and is rebooked for the following summer, then starring for three seasons at the Blackpool Hippodrome. He appears in ten Blackpool seasons from 1946 to 1969, not the nineteen seasons he later claims.
Locke makes his first radio broadcast in 1949 and subsequently appears on television programmes such as Rooftop Rendezvous, Top of the Town, All-star Bill and The Frankie Howerd Show. He is signed to the Columbia label in 1947, and his first releases are the two Italian songs “Santa Lucia” and “Come Back to Sorrento.”
In 1947, Locke releases “Hear My Song, Violetta,” which becomes forever associated with him. It is based on a 1936 tango “Hör’ mein Lied, Violetta” by Othmar Klose and Rudolf Lukesch. The song “Hör’ mein Lied, Violetta” is often covered, including by Peter Alexander and is itself based on Giuseppe Verdi‘s La traviata. His other songs are mostly a mixture of ballads associated with Ireland, excerpts from operettas, and familiar favourites.
In 1948, Locke appears in several films produced by Mancunian Films, usually as versions of himself. He plays himself in the film Holidays with Pay. He also appears as “Sergeant Locke” in the 1949 comedy What a Carry On!
In 1958, after Locke has appeared in five Royal Variety Performancetelecasts, and while he is still at the peak of his career, the British tax authorities begin to make substantial demands that he declines to meet. Eventually he flees the country for Ireland, where he lays low for several years. When his differences with the taxman are eventually settled, he relaunches his career in England with tours of the northern variety clubs and summer seasons at Blackpool’s Queen’s Theatre in 1968 and 1969, before retiring to County Kildare, emerging for the occasional concert in England. He later appears on British and Irish television, and in November 1984 is given a lengthy 90-minute tribute in honour of the award he is to receive at the Olympia Theatre commentating his career in show business on Gay Byrne‘s The Late Late Show. He also makes many appearances on the BBC Television‘s long running variety show The Good Old Days.
In 1991, the Peter Chelsom film Hear My Song is released. It is a fantasy based on the notion of Locke returning from his Irish exile in the 1960s to complete an old love affair and save a Liverpool-based Irish night-club from ruination. Locke is played by Ned Beatty, with the singing voice of Vernon Midgley. The film leads to a revival in Locke’s career. A compilation CD is released, and he appears on This Is Your Life in March 1992. He performs in front of the Prince and Princess of Wales at the 1992 Royal Variety Performance, singing “Goodbye,” the final song performed by his character in the film. He announces prior to the song that this will be his final public appearance.
Locke dies at the age of 82 at a nursing home in Clane, County Kildare on October 15, 1999, and is cremated at Glasnevin Cemetery. He is survived by his wife, Carmel, and a son.
On March 22, 2005, a bronze memorial to Locke is unveiled outside the City Hotel on Queen’s Quay in Derry by Phil Coulter and John Hume. The memorial is designed by Terry Quigley. It takes the form of a spiraling scroll divided by lines, representing a musical stave. The spiral suggests the flowing melody of a song and is punctuated by images illustrating episodes in his life, including Locke in police uniform, Blackpool Tower, Carnegie Hall, and the musical notes of the opening lines of “Hear My Song.”
A biography of the singer, entitled Josef Locke: The People’s Tenor, by Nuala McAllister Hart is published in March 2017, the centenary of his birth. The book corrects many myths that the charismatic Locke circulated about his career.
McLaverty is born on July 5, 1904, at Magheross, near Carrickmacross, County Monaghan, the son of Michael McLaverty, a waiter, and Kathleen McLaverty (née Brady). His father works in a hotel in the town until they move to Rathlin Island, and later to Belfast, when he is five years old. He attends St. Malachy’s College in the city, where an inspiring teacher instills in him a love of William Shakespeare‘s writings. He entered Queen’s University Belfast (QUB) in October 1924 and studies physics. He obtains a B.Sc. in 1928 and immediately takes his H.Dip.Ed., completing his teaching practice in St. Mary’s University College, Strawberry Hill, London. The following year he begins teaching at St. John’s Primary School in Colinward Street, west Belfast. He is admitted to the degree of M.Sc. at QUB in 1933.
In 1933, McLaverty marries Mary Conroy (formerly Giles), a young widow and fellow teacher at St. John’s. They have two sons and two daughters.
During his time at St. John’s, McLaverty writes his first five novels and fifteen short stories. In the 1930s he has developed a distinctive style in precise, unsentimental, but compassionate short stories. By the late 1930s, however, he switches his energies from short stories to the novel. Call My Brother Back (1939) contrasts the traditional world of Rathlin Island with the northern troubles in a family context. Another novel, Lost Fields (1941), and his collection of short stories, The White Mare (1943), explore the Belfast of his childhood and deal with the underlying tensions in Irish rural life. In the period 1949–55 he publishes five other novels: Three Brothers (1948), Truth in the Night (1951), School for Love (1954), The Choice (1958), and Brightening Day (1965). These novels deal with ordinary people and the dilemmas they encounter in their families and communities. His writings are influenced by Anton Chekhov, Leo Tolstoy, Katherine Mansfield, Gerard Manley Hopkins, and the Irish short story writers Liam O’Flaherty and Daniel Corkery.
As headmaster of St. Thomas’s intermediate school, a large school for boys in Ballymurphy, off the Falls Road, McLaverty gives his first job to the young Seamus Heaney, in whom he cultivates an interest in the writings of Chekhov and Tolstoy and the Irish writers Mary Lavin and Patrick Kavanagh. He deems Heaney to be the only genius he has ever met, and his work and success are a great source of pride and joy to him. His encouragement of the young John McGahern is of as much benefit to McLaverty himself, as their short but intense correspondence give him the energy to resume his writings.
Between his resignation from St. Thomas’s in 1963 and the early 1970s he teaches part-time at St. Joseph’s training college and St. Dominic’s High School, one of Belfast’s best-known grammar schools. In 1981 his old alma mater recognises his contribution to literature by awarding him an honorary master’s degree. In the same year he wins the American Irish literary fellowship, a prestigious literary award of $10,000, in recognition of his “impressive body of work as a short story writer and novelist.”
McLaverty dies on March 22, 1992, in County Down, Northern Ireland.
(From: “McLaverty, Michael” by Éamonn Ó Ciardha, Dictionary of Irish Biography, http://www.dib.ie, October 2009)
seamus dubhghaill 