The play is a tragicomedy about a small rural town in Ireland where many of the townspeople are extras in a Hollywood film. The story centres on Charlie Conlon and Jake Quinn, who, like much of the town, are employed as extras for the filming. The key point in the play is when a local teenager commits suicide, by drowning himself with stones in his pockets, after he is humiliated by one of the film stars. The script calls upon the cast of two to perform all 15 characters (men and women), often switching gender and voice swiftly and with minimal costume change. Comedy also derives from the efforts of the production crew to create the proper “Irish feel” – a romanticised ideal that often conflicts with the reality of daily life.
The play is first shown as a DubbleJoint Production premiering in West Belfast in August 1996. The set design, by Jack Kirwan, is simple – a backcloth depicting the cloudy sky above the Blasket Islands, a row of shoes (symbolising the myriad characters) and a trunk, a box, and two tiny stools. The lighting design is originally by James C. McFetridge and this design is used in both the London West End and the Broadway versions of the show.
The show moves to the Edinburgh Festival Fringe in 1999. It then returns to Ireland and has a brief run in Dublin before moving to London‘s Tricycle Theatre. It then transfers to the New Ambassadors Theatre in London’s West End. The show, however, proves so successful, its run is extended and moves to the Duke of York’s Theatre up the road, where it remains for three years.
The original cast of Hill and Campion take the show to Broadway and, as its West End run continues to play to packed houses, actors line up to play Charlie and Jake, most notably Bronson Pinchot, Rupert Degas and Simon Delaney.
The play wins the Irish Times/ESB Irish Theatre Award for Best Production in 1999, wins two Laurence Olivier Awards in 2001 for Best New Comedy and Best Actor (Conleth Hill) and is also nominated for three Tony Awards in 2001.
The play is revived at London’s Tricycle Theatre in 2011, with Jamie Beamish as Charlie and Owen McDonnell as Jake, and at the Tron Theatre, Glasgow in 2012 performed by Robbie Jack and Keith Fleming.
For the 20th anniversary of the first production, The Dukes in Lancaster and The Theatre Chipping Norton co-produce a touring production which opens at The Dukes on February 25, 2016, and tours 35 venues between then and May 28, 2016. Charlie de Bromhead plays Jake and Conan Sweeny plays Charlie.
The original version of the play is created in collaboration with theatre director Pam Brighton, who later sues Marie Jones for co-authorship rights. Brighton loses the case in the high court, and subsequently becomes bankrupt.
The Disfranchising Act, an act of parliament of the Parliament of Ireland, is debated in 1727 and receives royal assent on May 6, 1728. One of a series of Penal Laws, it prohibits all Roman Catholics from voting in parliamentary elections. Its full title is “An Act for the further regulating the Election of Members of Parliament, and preventing the irregular Proceedings of Sheriffs and other Officers in electing and returning such Members” and its citation is 1 Geo. 2. c. 9 (I).
In the eighteenth century, elections are held at irregular intervals and at the beginning of a new reign. The Act follows the death of George I on June 11, 1727, but does not take effect until after the election of 1727, coming into force in 1728.
The Act is repealed by the Roman Catholic Relief Act 1793, which receives royal assent on April 9, 1793, allowing the franchise in Ireland to all men holding a property with a rental value of at least two pounds annually.
Gerard “Jock” Davison, a former commander of the Provisional Irish Republican Army (IRA) in Belfast and later a supporter of Sinn Féin’s peace strategy, is shot dead in the city shortly after 9:00 a.m. on May 5, 2015, in the Markets area of south Belfast at the junction of Welsh Street and Upper Stanfield.
One of the first operations Davison is involved in is the shooting of Irish People’s Liberation Organisation (IPLO) Belfast Brigade commander Sammy Ward on October 31, 1992, during the Night of the Long Knives in Belfast.
Davison, the former IRA man, who more recently is a community worker in the working-class Markets area of Belfast, is questioned about the murder of 33-year-old Robert McCartney in January 2005. He is released without charge. He always denies ordering the murder of the father of two following an argument outside Magennis’s Bar in the city centre.
On May 5, 2015, around 9:00 a.m., Davison is shot numerous times at Welsh Street in the Markets area of south Belfast. While police do not identify who killed him, Kevin McGuigan, a former subordinate of Davison’s, is named as the chief suspect after he is also shot dead, reportedly by members of the Provisional IRA, on August 12, 2015.
On the evening of the killing, The Guardian’s Henry McDonald reports: “Davison is the most senior pro-peace processrepublican to have been killed since the IRA ceasefire of 1997. Security sources said it was highly unlikely that any Ulster loyalist group was behind the murders, adding that the killers may instead have come from within the nationalist community, possibly from people who had a longstanding grudge against the victim.”
Alasdair McDonnell, the Belfast SouthSocial Democratic and Labour Party (SDLP) Westminster candidate, condemns the shooting, saying, “This is a horrendous crime and those responsible have shown no regard for anyone that could have been caught in the middle of it during the school rush hour. My thoughts and prayers are with the individual’s family at this traumatic time.” He adds, “People here want to move on from the violence of the past. This community will reject those who bring murder and mayhem to our streets. I would appeal to anyone with any information to bring it forward as soon as possible.”
Sinn Féin president Gerry Adams says, “People will be appalled by this morning’s murder in the Markets area of south Belfast. This brutal act will be condemned by all sensible people. There can be no place today for such actions. I would urge anyone with any information to bring that forward to the PSNI (Police Service of Northern Ireland).”
Following his arrest in Fuengirola in August 2021, it is revealed Gerry ‘The Monk’ Hutch is to be questioned in relation to a weapon used in Davison’s murder.
Hackett is born into a working-class family in Dublin on July 25, 1893, the daughter of John Hackett, a hairdresser, and Roseanna Dunne. According to the 1901 census, she is living with her widowed mother and five other family members in a tenement building on Bolton Street in Dublin. The available documents suggest that her father dies when she is still very young. She joins the Irish Transport and General Workers’ Union (ITGWU) when it is established in 1909 by James Larkin, which marks the beginning of her lifelong activity in trade unionism. By 1911 she is living with her family in a cottage on Old Abbey Street, and her mother has remarried to Patrick Gray.
Hackett fights for many decades for the rights of workers. Through her affiliation and work with the ITGWU, the IWWU and the Irish Citizen Army, she helps carve out and secure modern-day working conditions. Her career begins as a packer in a paper store, then becoming a messenger for Jacob’s biscuits. At that time the working conditions in the factory are poor.
On August 22, 1911, Hackett helps organise the withdrawal of women’s labour in Jacob’s factory to support their male colleagues who are already on strike. With the women’s help, the men secure better working conditions and a pay rise. Two weeks later, at the age of eighteen, she co-founds the IWWU with Delia Larkin. During the 1913 lock-out she helps mobilise the Jacob’s workers to come out in solidarity with other workers. They, in turn, are locked out by their own employers. This does not stop her work to help others, and she, along with several of her IWWU colleagues, set up soup kitchens in Liberty Hall to help feed the strikers. However, in 1914 her Jacob’s employers sack her over her role in the lock-out.
Hackett begins work as a clerk in the printshop in Liberty Hall, and it is here she becomes involved with the Irish Citizen Army. She is involved in preparations for the 1916 Rising, working in a union shop, helping with printers, and making first-aid kits and knap-sacks.
If other members of the ITGWU were looking for James Connolly, Hackett aids in bringing them to him. She “worked as canvasser and traveler and was called on to carry out many confidential jobs.”
Hackett takes up first aid training provided by Dr. Kathleen Lynn for six months before the Rising and attends night marches organised by the Irish Citizen Army. According to her own account, she says, “A week before Easter, I took part in the ceremony of hoisting the challenge flag over Hall.” Like other girls and women who are involved in the Rising, she carries messages and guns and prepares uniforms and food for Irish Republican Army (IRA) members “and sometimes risky work.”
Three weeks before the Easter Rising, the Royal Irish Constabulary (RIC) raid a shop where Hackett is working. She is alone when they come, and they are looking for a copy of “Gael.” She says to them, “wait until I get the head” and she calls for Connolly. The police are stopped by Connolly and Helena Molony who are armed, and Hackett immediately hides everything, so that when the police come back, they cannot get anything.
Through her experience of working in the printshop, Hackett helps to print the Proclamation of the Irish Republic. She is in the printing room in Liberty Hall as a trusted messenger in 1916 when the Proclamation is printed, and it is the first time she is allowed in. Three men are there when she enters the room and one comes over to her, shakes her hand and congratulates her. It makes her very proud, especially since no one else is allowed to get in. She subsequently tells family members of handing it still wet to James Connolly before it is read by Patrick Pearse outside the entrance to the General Post Office (GPO).
Hackett is an active member of the Irish Citizen Army. On Easter Tuesday, under the command of Constance Markievicz, she takes part in the 1916 Rising and is located in the area of St. Stephen’s Green and the Royal College of Surgeons in Ireland. This position is heavily attacked with guns, short of first aid and “looked like a death trap.” However, after moving from an initially overlooked position in St. Stephen’s Green, it is one of the last positions to surrender. In the Royal College, as a first-aid practitioner, she is allowed entry to the lecture room sanctioned to the Red Cross only. Another first-aider, Aider Nora O’Daily, later reports that during those days, “I have a very kind remembrance of Little Rosie Hackett of the Citizen Army, always cheerful and always willing; to see her face about the place was a tonic itself.”
After surrendering, the rebels are taken to Dublin Castle. Hackett is imprisoned in Kilmainham Gaol for ten days.
In 1917, on the anniversary of Connolly’s death, Hackett, together with Helena Molony, Jennie Shanahan and Brigid Davis, print and hang a poster detailing the anniversary. After the first poster displayed by the ITGWU members is taken down by the police, they work to ensure that their poster will stay on Liberty Hall much longer by staying on top of the roof to defend it. They barricade the door using a ton of coal and nails on the windows. The poster is hanging there until 6:00 p.m. and thousands of people can see it.
After the Rising, Hackett returns to the IWWU which, at its strongest, organises over 70,000 women. After the 1945 laundry strike, they win an extra week of paid holidays for the workers. She attends many important labour union events such as the opening of the new Liberty Hall on May 2, 1965, and Arbour Hill memorial services. Until her retirement, she runs the trade union shops resulting in over five decades of active participation in the Irish trades union movement work to improve conditions for Irish workers. In 1970 she is awarded a gold medal for fifty years of ITGWU membership.
In the 1970s, Walter McFarlane, then branch secretary of the ITGWU, awards an honorary badge for Hackett’s fifty years contribution to the union.
Hackett never marries and lives in Fairview, Dublin, with her brother Tommy until her death on May 4, 1976. She is buried at St. Paul’s plot in Glasnevin Cemetery next to her mother and stepfather. At her burial, she is honoured with a military salute and her coffin is covered with the Irish flag. After her passing, her legacy is remembered in the union’s newspaper, a tale of the strife of Hackett together with the rest of Dublin’s working class, for which she fought to change.
In May 2014, the Rosie Hackett Bridge is officially opened by the Lord Mayor of Dublin. The Hackett Bridge Campaign began in October 2012, led by three women Angelina Cox, an active member of Labour Youth, Jeni Gartland and Lisa Connell. The final shortlist of contending names for the new bridge were Rosie Hackett, Kathleen Mills, Willie Bermingham, Bram Stoker and Frank Duff.
In April 2015, a plaque is unveiled on Foley Street by the North Inner City Folklore Project to commemorate the women of the Irish Citizen Army. The plaque lists Hackett as a member of the St. Stephen’s Green/College of Surgeons garrison during the 1916 Easter Rising.
Dowden is the son of John Wheeler Dowden, a merchant and landowner, and is born three years after his brother John, who becomes Bishop of Edinburgh in 1886. His literary tastes emerge early, in a series of essays written at the age of twelve. His home education continues at Queen’s College, Cork and at Trinity College, Dublin. He contributes to the literary magazine Kottabos.
Dowden has a distinguished career, becoming president of the University Philosophical Society, and wins the vice-chancellor’s prize for English verse and prose, and the first senior moderatorship in ethics and logic. In 1867 he is elected professor of oratory and English literature in Dublin University.
Dowden’s first book, Shakespeare: A Critical Study of His Mind and Art (1875), results from a revision of a course of lectures, and makes him widely known as a critic: translations appear in German and Russian; his Poems (1876) goes into a second edition. His Shakespeare Primer (1877) is translated into Italian and German. In 1878 the Royal Irish Academy awards him the Cunningham gold medal “for his literary writings, especially in the field of Shakespearian criticism.”
Later works by Dowden in this field include an edition of The Sonnets of William Shakespeare (1881), Passionate Pilgrim (1883), Introduction to Shakespeare (1893), Hamlet (1899), Romeo and Juliet (1900), Cymbeline (1903), and an article entitled “Shakespeare as a Man of Science” (in the National Review, July 1902), which criticizes T. E. Webb’s Mystery of William Shakespeare. His critical essays “Studies in Literature” (1878), “Transcripts and Studies” (1888), “New Studies in Literature” (1895) show a profound knowledge of the currents and tendencies of thought in various ages and countries; but his The Life of Percy Bysshe Shelley (1886) makes him best known to the public at large. In 1900 he edits an edition of Shelley‘s works.
Other books by Dowden which indicate his interests in literature include: Southey (1879), his edition of Southey’s Correspondence with Caroline Bowles (1881), and Select Poems of Southey (1895), his Correspondence of Sir Henry Taylor (1888), his edition of William Wordsworth‘s Poetical Works (1892) and of his Lyrical Ballads (1890), his French Revolution and English Literature (1897), History of French Literature (1897), Puritan and Anglican (1900), Robert Browning (1904) and Michel de Montaigne (1905). His devotion to Johann Wolfgang von Goethe leads to his succeeding Max Müller in 1888 as president of the English Goethe Society.
In 1889 Dowden gives the first annual Taylorian Lecture at the University of Oxford, and from 1892 to 1896 serves as Clark lecturer at Trinity College, Cambridge. To his research are due, among other matters of literary interest, the first account of Thomas Carlyle‘s Lectures on periods of European culture; the identification of Shelley as the author of a review (in The Critical Review of December 1814) of a romance by Thomas Jefferson Hogg; a description of Shelley’s Philosophical View of Reform; a manuscript diary of Fabre d’Églantine; and a record by Dr Wilhelm Weissenborn of Goethe’s last days and death. He also discovers a Narrative of a Prisoner of War under Napoleon (published in Blackwood’s Magazine), an unknown pamphlet by Bishop George Berkeley, some unpublished writings of William Hayley relating to William Cowper, and a unique copy of the Tales of Terror.
Dowden’s wide interests and scholarly methods make his influence on criticism both sound and stimulating, and his own ideals are well described in his essay on The Interpretation of Literature in his Transcripts and Studies. As commissioner of education in Ireland (1896–1901), trustee of the National Library of Ireland, secretary of the Irish Liberal Union and vice-president of the Irish Unionist Alliance, he enforces his view that literature should not be divorced from practical life. His biographical/critical concepts, particularly in connection with Shakespeare, are played with by Stephen Dedalus in the library chapter of James Joyce‘s Ulysses. Leslie Fiedler is to play with them again in The Stranger in Shakespeare.
Dowden marries twice, first to Mary Clerke in 1866, and secondly in 1895 to Elizabeth Dickinson West, daughter of the dean of St Patrick’s. His daughter by his first wife, Hester Dowden, is a well-known spiritualist medium.
Dowden dies in Dublin on April 4, 1913. His Letters are published in 1914 by Elizabeth and Hilda Dowden.
A Dublin City Council plaque commemorating Dowden is unveiled on November 29, 2016.
Born Annie Roslyn Roycroft, she is the fifth of six children born to Tom Roycroft of County Cork and Annie Stephens of County Kerry. Her father works in the Royal Irish Constabulary (RIC), which is what prompts the move to County Down. She gets her education at Bangor Central Public Elementary School and Technical College before going on to get a job with the local newspaper, the County Down Spectator in 1941.
Roycroft begins her career with the County Down Spectator as a junior office assistant but shows the instincts of a journalist and learns journalistic skills by typing up the reports dictated by the newspaper’s journalists. She begins submitting local news stories and in 1952 she is taken on as a journalist despite misgivings among the teams locally about a woman working in the field.
Roycroft then takes a break working as a clerk for North Down Borough Council before being asked to return as the editor for the County Down Spectator. A member of the National Union of Journalists, so that she knows how to pay her journalists properly, she has a reputation of standing her ground during reporting of the Troubles. She leaves County Down and her role as editor in 1983 when she marries Joe Stephens and eventually moves to Cork.
Roycroft is very involved in the Church of Ireland. She is a Sunday school teacher from the age of sixteen. When she moves to Cork, she turns her time to working with the church.
Roycroft dies in Beaumont, Cork, on January 11, 2019. She is predeceased by her husband. She writes her memoirs, Memoirs of a Scribbler, in 1995. She is remembered in the book Bangor in the Eighties which is dedicated to her.
(Photo: From “Annie Stephens obituary: One of Ireland’s first female newspaper editors,” The Irish Times, http://www.irishtimes.com, February 16, 2019)
Ó Súilleabháin is deeply involved in Daniel O’Connell‘s Catholic emancipation movement and in relief work among the poor of County Kilkenny. He is also an avid bird watcher and a collector of manuscripts in the Irish language. His diary, published later as Cín Lae Amhlaoibh, is kept between 1827 and 1835. It remains one of the most important sources for 19th-century Irish life and one of the few surviving works from the perspective of the Roman Catholic lower and middle classes. (A translation has been published in English and an abridged and annotated edition in Irish, both edited by Tomás de Bhaldraithe.) He also composes verse and stories.
Ó Súilleabháin is born in Killarney, County Kerry. He comes to live at Callan, County Kilkenny, when he is nine years old, joining his father, Donncha Ó Súilleabháin. Father and son establish themselves as teachers in the surrounding towns. They begin by teaching under the hedges, but eventually a cabin is built as a school. He takes over the post of teacher there when his father dies in 1808. He remains a resident of Callan until his death. At the time, County Kilkenny is one of the most strongly Irish-speaking areas in Leinster.
As a teacher, Ó Súilleabháin is well versed in mathematics and Latin, and likely teaches English to a high standard. His diary shows him to have a deep interest in the natural world, and there are daily references to the weather.
Though Ó Súilleabháin is clearly a master of English, his diary is mostly in Irish, with occasional business-related entries in English, likely so that such transactions can be verified by others. He mostly eschews the archaisms favoured by other writers in Irish, writing in a fluent, flexible, colloquial style which could encompass both concision and literary elaboration. His diary shows him to be deeply involved in the life of the poor but to also be well acquainted with local notables. He is fond of occasional revelry and a good meal.
Ó Súilleabháin has an impressive collection of Irish language manuscripts, both prose and verse, which are supplemented by books. As a businessman, he deals in linen, corn and meal, and often has to make long trips to Dublin, Clonmel and Waterford.
Ó Súilleabháin marries a woman named Máire Ní Dhulachanta, not often mentioned in his diary. They have six or seven children, four of whom survive into adulthood. Her death, however, causes him great grief, and he never remarries.
Ó Súilleabháin dies on November 20, 1838, in Callan and is buried in the family plot in St. Brigid’s graveyard.
Amhlaoibh’s original manuscript is currently in the possession of the Royal Irish Academy. An edition of the complete manuscript is published as Cinnlae Amhlaoibh Uí Shúileabháin by M. McGrath in 1936-37 and an abridged and annotated edition, Cín Lae Amhlaoibh, by Tomás de Bhaldraithe in 1970–1973. A translation, The Diary of an Irish Countryman, is published by de Bhaldraithe (Mercier Press) in 1979.
(Pictured: The Seal of Milesius, the official seal of the Ó Súilleabháin Clann of Munster)
Cummins begins to study at UCC in 1912. At that time, there are 78 women students out of the 420 students enrolled. She graduates with an engineering degree in 1915. During her time in engineering, she is editor of the Journal of the Engineering Society.
While she is in college, Cummins is on the Ireland field hockey team. She earns her first “cap” for hockey in 1914 and leads the college hockey team to victory in the Munster cup. The Irish hockey team tours the United States in 1925 with Cummins as the captain. With the team she goes to the White House at the invitation of Calvin Coolidge.
Cummins works for the Royal Arsenal with the munitions factory at Woolwich, London, and then the Vickers Limited factory at nearby Erith. She works in a shipyard in Scotland during World War I between 1915 and 1916 before returning to Cork. Initially, she finds it difficult to find work there.
In 1924, Cummins founds a private practice in the city and works there until 1927 at which time she is appointed to the Irish Land Commission in Dublin. She moves to Dublin and although she visits, she never returns to live in Cork. She retires from the Land Commission in 1954.
Cummins is a Council member of the Women’s Engineering Society, having joined at the organisation’s inception. In December 1919, she writes an encouraging article in the very first edition of the society’s journal, The Woman Engineer. Based on her own Irish university experience, it lays out the practicalities of studies as well as social interactions likely to be encountered by a woman thinking of training as a civil engineer. The following year, she has another article published, this time in the Practical Engineer magazine, entitled The Suitability of Women for the Engineering Industries.
Twenty years later, in 1940, Cummins writes a lively piece entitled Women Engineers Overseas – in Eire for The Woman Engineer journal on her experiences as one of the earliest women engineers in Ireland. In this article, she recounts a tale of encountering the “oldest Inhabitant” of a very rural area, a proud owner of two fine horses, who on discovering “you must be an engineer, so would ye mind mending the electric light in the mare’s stable?”
Cummins dies at the age of 73 in Dublin on April 30, 1968.
(Pictured: Detail from photo of the 1913-14 2nd Year Engineering Class at University College Cork (UCC University Archives, OCLA, UCC))
Born in Derry in 1677, Farquhar is one of seven children born to William Farquhar, a clergyman of modest means. The author of “Memoirs of Mr. George Farquhar,” a biographical sketch prefixed to certain 18th-century editions of his works, claims that he “discovered a Genius early devoted to the Muses. When he was very young, he gave Specimens of his Poetry; and discovered a Force of Thinking, and Turn of Expression, much beyond his years.”
Farquhar is educated at Foyle College and later enters Trinity College Dublin at age seventeen as a sizar under the patronage of the Bishop of Dromore, who may have been related to Farquhar’s mother. He may have initially intended to follow his father’s profession and become a clergyman but is “unhappy and rebellious as a student” and leaves college after two years to become an actor. His 18th-century biographer claims that the departure is because “his gay and volatile Disposition could not long relish the Gravity and Retirement of a College-life,” but another story of uncertain veracity has him being expelled from Trinity College due to a “profane jest.” The two accounts are not necessarily mutually exclusive.
Farquhar joins a company performing on the Dublin stage, probably through his acquaintance with the well-known actor Robert Wilks. However, he is reportedly not that impressive as an actor. It is said that “his voice was somewhat weak” and that “his movements [were] stiff and ungraceful.” But he is well received by audiences and thought to continue in this career “till something better should offer.” Some of the roles reportedly played by Farquhar are Lennox in William Shakespeare‘s Macbeth, Young Bellair in The Man of Mode by George Etherege, Lord Dion in Philaster by Francis Beaumont and John Fletcher, and Guyomar in The Indian Emperour by John Dryden.
During one of the performances in the Dryden play, an accident on stage puts an end to Farquhar’s acting career. As Guyomar, he is supposed to “kill” Vasquez, one of the Spanish generals in the drama. Forgetting to exchange his sword for a foil before enacting this scene, he severely wounds Price, the actor playing Vasquez. Although Price recovers, Farquhar resolves after this mishap to give up acting for good.
Farquhar then leaves for London, “possibly with a draft of his first play in his portmanteau.” Some writers tie his move to that of his friend Wilks, who had received an offer from the manager of Drury Lane to come to London and join that theatre. Wilks is also credited with encouraging Farquhar’s efforts at writing plays.
Farquhar’s first comedy, Love and a Bottle, premieres in 1698 and is well received by the audience. Called a “licentious piece” by one scholar and cited as proof that Farquhar had “absorbed the stock topics, character-types, and situations of Restoration comedy” by another, the play deals with Roebuck, “An Irish Gentleman of a wild roving Temper” who is “newly come to London.” The general character of the play can be evaluated by considering that in the opening scene, Roebuck tells his friend Lovewell that he has left Ireland due to getting a woman pregnant with twins and to Roebuck’s father trying to force Roebuck to marry the woman; however, Roebuck remarks, “Heav’n was pleas’d to lessen my Affliction, by taking away the She-brat.”
After the favourable reception of Love and a Bottle, Farquhar decides to devote himself to playwriting. He also at this point receives a commission in the regiment of the Earl of Orrery, so his time for the next few years is divided between the vocations of soldier and dramatist. It is also at about this time that he discovers Anne Oldfield, who is reading aloud a scene from The Scornful Lady at her aunt’s tavern. Impressed, he brings her to the notice of Sir John Vanbrugh, and this leads to her theatrical career, during which she is the first performer of major female roles in Farquhar’s last comedies.
In 1700, Farquhar’s The Constant Couple is acted at Drury Lane and proves a great success, helped considerably by his friend Wilks’ portrayal of the character of Sir Henry Wildair. The playwright follows up with a sequel, Sir Harry Wildair, the following year, and in 1702 writes the comedies The Inconstant and The Twin Rivals. Also in 1702, he publishes Love and Business, a collection that includes letters, verse, and A Discourse Upon Comedy.
The next year, Farquhar marries Margaret Pemell, “a widow with three children, ten years his senior,” who reportedly tricks him into the marriage by pretending to have a great fortune. His 18th century biographer records that “though he found himself deceived, his Circumstances embarrassed, and his Family increasing, he never upbraided her for the Cheat but behaved to her with all the Delicacy and Tenderness of an indulgent Husband.” He is engaged in recruiting for the army, due to the War of the Spanish Succession, for the next three years, writing little except The Stage Coach in collaboration with Peter Motteux, an adaptation of a French play. He draws on his recruiting experience for his next comedy, The Recruiting Officer (1706). However, he has to sell his army commission to pay debts, reportedly after the Duke of Ormonde advises him to do so, promising him another but failing to keep his promise.
Early in 1707, Farquhar’s friend Wilks visits him. Farquhar is ill and in distress, and Wilks is said to have “cheered him with a substantial present and urged him to write another comedy.” This comedy, The Beaux’ Stratagem, is given its première on March 8, 1707. It is known from Farquhar’s own statement prefacing the published version of the play that he wrote it during his sickness:
“The reader may find some faults in this play, which my illness prevented the amending of; but there is great amends made in the representation, which cannot be match’d, no more than the friendly and indefatigable care of Mr. Wilks, to whom I chiefly owe the success of the play.”
Daniel Doyle, Irish folk singer, is born in Dublin on April 28, 1940. During the 1960s and 1970s, he is one of the top Irish singers, regularly featuring in the Irish charts and scoring three No.1 singles. He records twenty-five albums and is known for his chart-topping songs “Whiskey on a Sunday,” “Daisy a Day” and “The Rare Ould Times.”
After leaving school at the age of fourteen, Doyle starts doing odd jobs, including working as general factotum in Dublin’s Pike Theatre, where he begins to pick up, from the travelling players, songs from the Irish countryside.
During the 1960s and 1970s, Doyle is one of the top Irish singers, regularly featuring in the Irish charts and scoring three No.1 singles. His song “The Rare Auld Times” notably displaces ABBA‘s “Take a Chance on Me” after just one week at the top. The song is composed in the 1970s by Pete St. John for the Dublin City Ramblers and peaks on the Irish Music Charts for twelve weeks. In 1979, he is the first artist to record St. John’s song “The Fields of Athenry.” He is probably best known for his 1967 number one hit “Whiskey on a Sunday.” His other notable works are “A Daisy a Day” and “The Rare Auld Times.” The hit songs “Daisy A Day,” “Streets of London,” “Lizzie Lindsay” and “Whiskey on a Sunday” that are released in the 1960s make him popular.
In 1983, Doyle moves to the United States from Ireland.
seamus dubhghaill 