Clancy begins singing with his brothers, Paddy and Tom Clancy, at fund-raising events for the Cherry Lane Theatre and the Guthrie benefits. The Clancy Brothers and Tommy Makem, begin recording on Paddy Clancy’s Tradition Records label in the late 1950s. Liam plays guitar in addition to singing and also records several solo albums. They record their seminal The Rising of the Moon album in 1959. There are international tours, which include performances at Carnegie Hall and the Royal Albert Hall. The quartet records numerous albums for Columbia Records and enjoys great success during the 1960s folk revival. In 1964, thirty percent of all albums sold in Ireland are Clancy Brothers and Tommy Makem records.
After The Clancy Brothers split up, Liam has a solo career in Canada. In 1975, he is booked to play a festival in Cleveland, Ohio, where Tommy Makem is also playing. The two play a set together and form the group Makem and Clancy, performing in numerous concerts and recording several albums together until 1988. The original Clancy Brothers and Tommy Makem line-up also get back together in the 1980s for a reunion tour and album.
In later life, Liam maintains a solo career accompanied by musicians Paul Grant and Kevin Evans, while also engaging in other pursuits. In 2001, Clancy publishes a memoir titled The Mountain of the Women. He is also in No Direction Home, the 2005 Bob Dylan documentary directed by Martin Scorsese. In 2006, Clancy is profiled in a two-hour documentary titled The Legend of Liam Clancy, produced by Anna Rodgers and John Murray with Crossing the Line Films, which wins the award for best series at the Irish Film and Television Awards in Dublin. His final album, The Wheels of Life, is released in 2009. It includes duets with Mary Black and Gemma Hayes as well as songs by Tom Paxton and Donovan.
Liam Clancy dies from pulmonary fibrosis on December 4, 2009, in Bon Secours Hospital, Cork. He is buried in the new cemetery in An Rinn, County Waterford, where he spent the last number of years of his life, owning a successful recording studio.
Edwards is born in London on February 2, 1903. He begins his career acting with the Charles Doran Shakespeare Company in 1920 in Windsor and then joins The Old Vic in London, playing in all but two of Shakespeare‘s plays before leaving the company a few years later. Trained in music, he also sings baritone roles with the Old Vic Opera company.
After touring with various companies in Britain and South Africa, Edwards goes to Ireland in 1927 for a season with Anew McMaster‘s company and meets McMaster’s brother-in-law, Micheál Mac Liammóir. As he tells an interviewer once, both men want a theater of their own. Mac Liammóir wants it to be in Ireland and Edwards does not care. “I don’t care about nationalism, I care about the theater,” he says.
In New York City in 1948 Edwards plays in and directs John Bull’s Other Island and directs The Old Lady Says No and Where Stars Walk. In 1961, Edwards takes a two-year leave from the Gate to become the first Head of Drama at Telefís Éireann. A year later, he wins a Jacob’s Award for his television series Self Portrait.
Hilton Edwards dies in a Dublin hospital on November 18, 1982. Edwards and Mac Liammóir are the subject of a biography, titled The Boys by Christophor Fitz-Simon.
Michael “Mick” Lally, Irish stage, film and television actor, is born in the Gaeltacht village of Toormakeady, County Mayo, on November 10, 1945. He departs from a teaching career for acting during the 1970s. Though best known in Ireland for his role as Miley Byrne in the television soap Glenroe, his stage career spans several decades, and he is involved in feature films such as Alexander and the Academy Award-nominated The Secret of Kells. Many reports cite him as one of Ireland’s finest and most recognisable actors.
Lally begins his acting career with Taibhdhearc na Gaillimhe, Ireland’s national Irish language theatre, and is a founding member of the Druid Theatre Company. He receives an Irish Times/ESB Theatre Award Nomination for Best Actor for his role in Druid’s production of The Dead School. He also becomes a member of the Field Day Theatre Company, and stars in the company’s 1980 premiere of Brian Friel‘s play Translations. He first plays at the Abbey Theatre in 1977 in a production of Wild Oats and goes on to perform in many other Abbey productions.
In 1982, Lally stars in the TV series The Ballroom of Romance alongside Brenda Fricker. From 1983 he plays the role of Miley Byrne in the RTÉ soap Glenroe, reprising the character that he played earlier in Bracken in 1978. In 1979, he wins a Jacob’s Award for his performance as Miley in Bracken. He also has some musical success when “The By-road to Glenroe” goes to the top of the Irish charts in 1990. He is also involved in voice-over work, including a noted advertisement for Kilmeaden Cheese during the 1990s. Other TV appearances include roles in Tales of Kinvarna, The Year of the French and Ballykissangel.
In 1994, Lally plays the character Hugh in The Secret of Roan Inish, and in 1995 portrays Dan Hogan in the film adaptation of Maeve Binchy‘s Circle of Friends. Other film roles included Poitín, Our Boys, The Outcasts, A Man of No Importance and others. In later years, he provides the voice of Brother Aidan in the Academy Award-nominated The Secret of Kells, an animated film directed by Tomm Moore.
Lally appears in several TV advertisements encouraging elderly people to “release the equity tied up in their homes” during the Celtic Tiger.
Mick Lally dies in Dublin on the morning of August 31, 2010, after a short stay in the hospital. The cause of death is reported as heart failure, arising from an underlying emphysema condition. His funeral takes place in Dublin on September 2, 2010. The Irish Examiner comments that the “nation has lost one of its favourite uncles.” Personalities from TV, film, theatre and politics attend, while President of IrelandMary McAleese sends a letter and Lally receives a standing ovation at the end.
Crilley is born in Newry, County Down, (present-day Northern Ireland), on August 1, 1884, one of six children of Patrick Crilley. Her date of birth is often given as July 29, 1888, though local records do not support this, suggesting she is born four years earlier. Having initially trained at Newry technical school with her sister Mary, intending to become a teacher, in 1905, she wins a scholarship to attend the Dublin Metropolitan School of Art. There she studies under William Orpen, who regards her as one of his most promising students. She completes her studies in 1911 attaining an Art Teacher’s Certificate and begins working as Orpen’s assistant.
In 1914, Crilley marries her fellow student Harry Clarke, much to the surprise of their family and acquaintances. The couple moves into a flat at 33 North Frederick Street. They have three children, Michael, David and Ann. Harry’s brother, Walter, marries Margaret’s sister, Mary, in 1915.
Clarke first exhibits with the Royal Hibernian Academy in 1913 and goes on to exhibit over 60 artworks in the forty years until 1953, the majority being portraits. Among the portrait commissions she receives are ones for Dermod O’Brien, President Éamon de Valera, ArchbishopJohn Charles McQuaid, and Lennox Robinson. She spends a great deal of time on the Aran Islands with fellow artist Seán Keating and her husband, from which she produces a number of landscapes and smaller studies.
Clarke becomes the director of the Harry Clarke Stained Glass Studios following the death of her husband in 1931.
A critic notes in 1939 that Clarke produces “remarkable drawings in which individuality is caught in a few swift economical lines.” Over her lifetime she wins many awards including the Tailteann gold, silver and bronze medals in 1924, and another Tailteann bronze in both 1928 and 1932. She is elected an Associate of the Royal Hibernian Academy (ARHA) in 1926, and a full RHA member in 1927. Upon the founding of the Irish Exhibition of Living Art in 1943, she is appointed a member of the executive committee.
Clarke dies in Dublin on 31 October 31, 1961, and is buried in the Redford Cemetery, Greystones, County Wicklow. She is commemorated with a blue plaque at her birthplace in Newry.
The opera is originally prepared for the English Opera House but for some reason the theatrical manager, Samuel James Arnold, does not want it. Instead, Alfred Bunn, the manager of Drury Lane Theatre, seizes the opportunity and begins what is a very fruitful collaboration with Balfe that lasts a decade. Balfe is to become the mainstay of English Opera for almost the next 30 years with a succession of popular operas.
The opera runs for 70 nights on its initial run and is revived in the following three seasons with Balfe singing the role of Michel. Queen Victoria sees the opera on November 15, 1837, her first state visit to a theatre during her reign. In 1836, the opera is reported as staged in Leeds, York, Sheffield, Manchester, Liverpool, Bath and Dublin with Abigail Betts as Clara. John Wilson, who sings in the initial run of the opera, also sings in, at least, some of these. Madame Balfe chooses the opera for her benefit in 1841, and Bunn opens his 1843 season with it on September 30. Emma Romer uses it to open her 1853 season at the Surrey Theatre, although it is being described by then as “somewhat hacknied.”
October 1875 sees a revival of the opera by the Carl Rosa Opera Company at the Princess’s Theatre, and it is then included in the company’s repertoire that tours to Manchester in 1875, Liverpool in 1876, Birmingham in 1877 and Dublin in 1879. The Turner Company tours it in 1893. This is possibly the opera’s last performance until the Wexford Festival Opera performances in 1963. The overture and songs from the opera, such as “When I beheld the anchor weigh’d” continue to retain a place in the concert hall and the home into the 20th century.
In 1838, the opera is performed by the Caradori-Allan troupe at the Park Theatre in New York but fails although it appears to be retained in the repertory. In 1839, it is performed again in Dublin with Balfe as Michel and in Sydney in 1848.
The opera’s production sparks an acrimonious argument between a correspondent in The Examiner accusing Balfe of plagiarism from Luigi Ricci‘s 1832 opera, Chiara di Rosemberg, and, in defence, Frederick Beale, from Balfe’s publishers, and Balfe. The matter seems to be settled in Balfe’s favour when the score of Chiara di Rosemberg is displayed at music publisher Cramer, Beale and Co. so that people can compare the two for themselves. While Edward Fitzball probably uses Ricci’s libretto as the basis for his, it does not seem to have been a straight translation, as some allege, but similarities would help to feed the accusations of plagiarism, bolstered by the Italian training and approach of both composers and the fact that Balfe had sung in Chiara di Rosemberg in Italy in 1834.
Balfe is said to have been paid £5 a night by Bunn and 400 guineas for the score by the publishers Cramer, Beale and Co. In 1871, the Bury and Norwich Post (April 11, 1871) report that the copyright has sold for £156 and just over ten years later the AberdeenEvening Express (May 8, 1883) notes that the copyright has been sold again for approximately £20, adding “So much for Balfe’s ‘popularity.”
Deane is born on December 2, 1879, in New Ross, County Wexford, and grows up in Clontarf, a suburb of Dublin. His family lives close to the families of both Bram Stoker and his wife, Florence Balcombe, and his mother had been acquainted with Bram Stoker in her youth.
Deane enters the theater as a young man, first appearing in 1899 with the Henry Irving Company, of which Stoker is stage manager for many years. Even before he forms his own troupe in the early 1920s, he has been thinking about bringing Dracula to the stage. Stoker had attempted this in 1897 but the verdict from Irving consigned it to the waste-paper basket. Unable to find a scriptwriter to take on the project, Deane writes the play himself in a four-week period of inactivity while he is suffering with a severe cold. He then contacts Florence Stoker, Bram’s widow, and negotiates a deal for the dramatic rights.
To stage the production, Deane is required to submit the completed script to the Lord Chamberlain for a license under the Theatres Act 1843. The play is censored to limit violence – for example, the count’s death cannot be shown to the audience – but is approved on May 15, 1924.
Deane re-imagines Count Dracula as a more urbane and theatrically acceptable character who could plausibly enter London society. It is Deane’s idea that the count should wear a tuxedo and stand-up collar, and a flowing cape which conceals Dracula while he slips through a trap-door in the stage floor, giving the impression that he has disappeared. He also arranges to have a uniformed nurse available at performances, ready to administer smelling salts should anyone faint.
Deane’s play premieres on August 5, 1924, at the Grand Theatre in Derby, England. Despite critics’ misgivings, the audiences love it. Although he originally intended to play the title role himself, Raymond Huntley plays the role of the Count and Deane fills the role of Van Helsing. It is a huge success and the production tours England for three years before settling in London, where it opens at the Little Theatre in the Adelphi on February 14, 1927. It later transfers to the Duke of York’s Theatre and then the Prince of Wales Theatre to accommodate larger audiences.
When the play crosses the Atlantic in 1927, the role of Dracula is taken by the then-unknown Hungarian-American actor Bela Lugosi. For its United States debut, Dracula is rewritten by the American playwright John L. Balderston. The show runs for a year on Broadway and for two more years on tour, breaking all previous records for any show put on tour in the United States. It is the Deane/Balderston interpretation upon which the classic Tod Browning film Dracula (1931) is based.
Carroll marries clothing designer Helena Reilly in Glasgow in 1923. They have four children, actress Helena Carroll, musician and producer Theresa Perez, journalist Kathleen Carroll and son Brian Carroll who resides in London. He is grandfather to Helena Perez Reilly and great grandfather to Paul Vincent Reilly. His brother, Niall Carroll, is a film critic.
Carroll founds two theater groups in Glasgow: the Curtain Theatre company, with Grace Ballantine and Molly Urquhart, in 1933 and the Glasgow Citizens Theatre in 1943. He remains the director and playwright in residence of the Citizens Theatre until his death.
The Wayward Saint is made into an opera in Germany in the 1960’s and his daughter Theresa commissions and produces an opera of his Beauty is Fled from the collection Plays for My Children which opens at Phoenix Symphony Hall in the 1970s as part of Theresa’s “Children’s Opera Series.”
Carroll dies at the age of 68 from undisclosed causes in Bromley, Kent, England on October 20, 1968.
Watchorn first comes to prominence in 1969 as the lead singer of The Quare Fellas, a Dublin-based ballad group. They evolve into the Dublin City Ramblers in the early 1970s and with Watchorn as their lead singer they have hits with songs such as “The Rare Ould Times” and “The Ferryman,” both of which are written by Pete St. John.
Watchorn also writes and sings the Irish Football Team anthem, “We are the Boys in Green” (Home & Away album), with The Dublin City Ramblers for the teams European Championship campaign in Germany and again for the 1990 FIFA World Cup in Italy. The lyrics change slightly in both releases in 1988 and 1990.
In 1995, Watchorn leaves The Dublin City Ramblers and makes a number of solo albums. He joins The Dubliners in 2005, taking Paddy Reilly‘s place. He is well received throughout Ireland, the United Kingdom, Europe, Australia and the United States. He appears on their Tour Sampler EP in 2005, as well as the double album Live at Vicar Street (2006). He plays the banjo, bodhrán and spoons. He cites Luke Kelly, former lead singer with The Dubliners, as his favourite singer.
When The Dubliners announce their retirement in 2012 after finishing their 50 Years Anniversary Tour, Watchorn decides to keep on touring with former band members Seán Cannon and Eamonn Campbell and banjo player Gerry O’Connor under the name of “The Dublin Legends.”
On April 28, 2014, Watchorn posts a message on his website, stating that he has “decided to take a break from the music business for a while” and will not be touring the rest of 2014 with The Dublin Legends. He later admits this is due to ill health and that doctors had advised him that touring would do further damage to his health.
Watchorn’s distinctive and passionate vocals have made him a huge rock on the Irish folk scene. In his solo projects in the mid- and late-1990s, after his departure from The Dublin City Ramblers, he has session men who used to play alongside him and he uses the stage name “Patsy Watchorn, agus a Cháirde” (which means “and his Friends” in Irish).
Hogan is the third child of John Hogan, a carpenter and builder of Cove Street, Cork, County Cork, and Frances Cos, the great-granddaughter of Sir Richard Cox, Lord Chancellor of Ireland from 1703 to 1707. As the family feels that she had married beneath her station, she is disinherited.
At the age of fourteen, Hogan is placed as clerk to an attorney, where he spends much of his time carving figures in wood. After two years, he chooses to be apprenticed to the architect Sir Thomas Deane, where his talents for drawing and carving are developed. He carves balusters, capitals, and ornamental figures for Deane’s buildings. At the completion of his apprenticeship in March 1820, Deane encourages him to consider taking up sculpture as a profession. For the next three years, he attends lectures on anatomy, copies casts of classic statuary in the Gallery of the Cork Society of Arts, and makes anatomical studies in wood of feet, hands, and legs. Among the first of his works to attract notice is a life-size figure of Minerva for an insurance building built by Deane.
In 1821, Hogan carves twenty-seven statues in wood for the North Chapel in Cork for the reredos behind the high altar. After subsequent cathedral renovations, these are now positioned in decorative plasterwork over the nave. He also does a bas-relief of the “Last Supper” for the altar. This work keeps him employed for about a year.
In 1823, the engraver William Paulet Carey visits Cork, and impressed with Hogan’s talent, begins to publicise his work in order to raise subscriptions for him to study in Italy. Hogan arrives in Rome, by way of Dublin and Liverpool, in 1824. He works in the galleries of the Vatican but cannot afford a studio. Additional subscriptions allow him to improve his situation, rent a studio, purchase marble, and hire models. Danish sculptor Bertel Thorvaldsen says to him, “My son, you are the best sculptor I leave after me in Rome.”
In 1829, Hogan visits Ireland, bringing several works with him. The Royal Arts Society provides a venue for an exhibition. The Royal Dublin Society awards him a gold medal.
Hogan’s best-known work and masterpiece are the three versions of the statue of The Dead Christ or The Redeemer in Death. Created in flawless Carrara marble, the first version (1829) is located in St. Therese’s Church, Dublin, the second (1833) in St. Finbarr’s (South) Church, Cork, and the third and final version (1854) is located in the Basilica of St. John the Baptist, Newfoundland. His other works include the Sleeping Shepherd and The Drunken Faun. He assures his international reputation in 1829 with The Dead Christ. Thereafter, his creations are snapped up by Irish bishops visiting his Rome studio.
In 1840, a monumental group in memory of Bishop James Warren Doyle, founder of the Cathedral of the Assumption in Carlow, is brought to Dublin and exhibited at the Royal Exchange. The statue of Bishop Doyle is in the Cathedral of the Assumption, as is a second Hogan work depicting the Holy Family.
Hogan marries Cornelia Bevignani in Rome in 1838. The figure of Hibernia, in Hogan’s work Hibernia with the Bust of Lord Cloncurry (1844), is reportedly modelled on his wife. A representation of this work is later used as the watermark on all Series A banknotes printed in Ireland from the 1920s to the 1970s. The couple has four sons and eight daughters.
With the revolutionary movement growing in Italy during the 1840s, and after spending twenty-four years in Rome, Hogan returns with his family to Ireland in 1848. At first, he finds little work in the aftermath of the Great Famine, but gradually commissions increase. He can be impatient with ignorance, intolerant of professional inferiority, and independent. He holds aloof from other artists and refuses to join the Royal Hibernian Academy.
Hogan has a stroke in 1855 and, though he recovers somewhat, his health begins to fail. By the year prior to his death, he can no longer work and his sons, John Valentine Hogan and James Cahill, assist at his studio and complete some of the work.
Hogan dies at his home at 14 Wentworth Place (later renamed Hogan Place), Dublin, on March 27, 1858. He is buried at Glasnevin Cemetery in Dublin.
(Pictured: Scan of a drawing depicting the Irish sculptor John Hogan with his sculpture The Drunken Faun in background, published in the Dublin University Magazine, January 1850)
Fallon is born at Holles Street Hospital, Dublin, on January 30, 1939, the third of six sons of Padraic Fallon, the Irish poet and playwright, and Dorothea Maher. The family moves to Clonard, County Wexford, where he grows up. He has three surviving brothers, Brian, Ivan and Padraic, who have all had journalism careers. His early interest in literature and the arts is nourished by his father and elder brothers, and by contact with the cultured circle of writers, artists, musicians and intellectuals within which his father moves.
Fallon is educated at St. Peter’s College, Wexford, and Trinity College, Dublin. He begins painting in 1957 while at Trinity College, where he is studying natural science but is advised to pay more attention to his art. His interest in painting is probably inspired by the example of Tony O’Malley, a close family friend. As a compromise with his father, who does not see his talent, he also studies accountancy at night.
Largely self-taught in painting, he learns fundamentals of technique from Richard Kingston, to whom he is introduced by O’Malley. He largely paints landscapes in acrylic and gouache, in a manner heavily influenced by that of Jack Butler Yeats.
In 1964, Fallon visits O’Malley in St. Ives, Cornwall, where he had emigrated several years earlier, intending also to meet the Cornish abstract landscape painter Peter Lanyon, the chief creative force in the thriving artists’ colony centred on St. Ives. His arrival, however, coincides with Lanyon’s death from injuries suffered in a gliding accident. A gently sympathetic stranger amid the bereaved artistic community, he finds an immediate empathy and rapport with Nancy Wynne-Jones, a Welsh-born painter sixteen years his senior who had studied under Lanyon. They marry in 1966. They adopt two children in 1970, siblings John and Bridget.
Encouraged to take up sculpture, English sculptor Denis Mitchell becomes Fallon’s mentor in Cornwall, and with Breon O’Casey, he develops his sculpting. He becomes notable for his cast steel and bronze work, especially birds, horses and hares. He has his first solo exhibition in Newlyn in 1972, showing both painting and sculpture.
In May 1972, Fallon moves with his family back to Ireland, settling at Scilly House, on a hillside overlooking the harbour at Kinsale, County Cork. Removed from any centre of artistic activity, he devotes himself fulltime to a solitary development of his sculpture, refining his methodology and technique, and his skills in working various metals, beginning in 1974 to work in steel. In 1975, he first exhibits in Ireland at a solo show at the Emmet Gallery, Dublin, again showing both painting and sculpture, including his first steel sculptures to be exhibited.
Beginning in 1983, Fallon exhibits regularly with the Taylor Galleries, Dublin. Desiring closer proximity to Dublin art activities, and with their children attending university in the city, Fallon and his wife move in 1987 to Ballard House, Ballinaclash, Rathdrum, County Wicklow.
In the summer of 2007, some six months after his wife’s death, Fallon wis diagnosed with advanced metastatic lung cancer. He dies on October 3, 2007, at the Blackrock Clinic, County Dublin, and is buried beside his wife in Ballinatone churchyard, Greenan, Rathdrum, County Wicklow.
seamus dubhghaill 