seamus dubhghaill

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Category Archives: Arts & Music


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Birth of Gordon Lambert, Businessman, Senator & Art Collector

Charles Gordon Lambert, Irish businessman, senator and art collector, is born on April 9, 1919, in the family home at Highfield Road, Rathmines, Dublin, the youngest of four sons of Robert James Hamilton Lambert, a veterinarian and renowned cricketer, and his wife Nora (née Mitchell). His eldest brother, Noel Hamilton “Ham” Lambert, is a versatile sportsman and noted veterinary practitioner.

Lambert is educated at Sandford Park School, Dublin, and at Rossall School, Lancashire. He is steered by his mother toward a career in accountancy for which he prepares by studying commerce at Trinity College Dublin (TCD). Graduating in 1940, he joins the accounting firm Stokes Brothers and Pim, qualifying Associate Chartered Accountant in 1943. In 1944, after auditing biscuit manufacturers W. & R. Jacob and Co. Ltd, one of Ireland’s largest and most prestigious industrial companies, he is offered and accepts a £300 a year job at Jacob’s as assistant accountant.

In 1953, Lambert becomes Jacob’s chief accountant as the management grooms him for an executive career. During 1948–56, Jacob’s suffers from profit and price controls, lack of capital investment and complacency brought about by the absence of competition. The entry of Boland’s Bakery into the Irish biscuit market in 1957 is exploited by Lambert who urges the alarmed board, which has long regarded advertising as vulgar, to market its products more vigorously. This assertiveness yields his advancement to the position of commercial manager in 1958. A year later he becomes the first non-member of the Bewley and Jacob families to be appointed to the board.

Between 1959 and 1970, biscuit consumption in Ireland doubles for which Lambert can claim much credit. Recognising that the advent of self-service stores means that manufacturers can no longer rely on retailers to sell their products, he pioneers advanced promotional techniques in Ireland, particularly the use of marketing surveys and of mass advertising in newspapers, on radio and on the emerging medium of television. To further accord with retailers’ preferences, Jacob’s drives the widespread packaging of biscuits in airtight packets rather than tins, and also introduces a striking red flash logo for its packets. His interest in contemporary art enables him to contribute directly to Jacob’s packaging designs.

Lambert is appointed to the board of the Electricity Supply Board (ESB) in 1964, a position he holds until 1977, and serves as president of the National Agricultural and Industrial Development Association (NAIDA) in 1964–65, spearheading a “Buy Irish” campaign. His involvement with NAIDA dates to the mid-1950s and leads to his friendship with Jack Lynch, Minister for Industry and Commerce. This relationship and his admiration for Seán Lemass incline him toward Fianna Fáil. He also believes the party is the one most likely to deliver economic growth.

In 1977, Lambert is appointed to Seanad Éireann by Taoiseach Jack Lynch. He sits as an independent but assures Lynch he will broadly support the government. Dismayed by Ireland’s economic uncompetitiveness, he uses this platform to bemoan the state’s financial profligacy and failure to control inflation, and the indifference of Irish politicians towards the business community, contending that Irish industrialists suffer and need to learn from the expert lobbying of the indigenous agricultural sector and of large multi-national companies based in Ireland. He also articulates his social liberalism, desire for peaceful reconciliation in Northern Ireland and support for cultural and environmental causes. But his commitment to the Seanad wanes as he grasps its irrelevance. When Lynch resigns in December 1979, Lambert joins the Fianna Fáil party in a futile bid to preserve his political influence.

Following Jacob’s takeover of Boland’s Bakery in 1966, Lambert becomes joint managing director of a new entity, Irish Biscuits Ltd, the manufacturing and trading company for the Boland’s and Jacob’s biscuits operations. W. & R. Jacob and Co. Ltd becomes a holding company. In 1968, he becomes the sole managing director. From 1977 he begins withdrawing from the active administration of the company, relinquishing his managing directorship in 1979 to become chairman.

Initially, Lambert views art as a hobby but he comes to see it as a calling, drawing inspiration from Sir William Basil Goulding, his predecessor as Ireland’s leading collector and advocate of modern art. From the late 1970s he serves as head of the Contemporary Irish Art Society (CIAS) and on the Arts Council of Northern Ireland, the advisory committee of the Dublin Municipal Gallery, the board of the National Gallery of Ireland, the editorial board of the Irish Arts Review and the international council of the Museum of Modern Art (MoMA) in New York City.

The Irish Museum of Modern Art (IMMA) opens in 1991 and receives through the medium of the Gordon Lambert Trust some 212 works, which form the centerpiece of its collection. Thereafter Lambert gifts another 100 works to IMMA. He sits on IMMA’s board from 1991, and the west wing of the museum is named after him in 1999.

Despite being diagnosed with Parkinson’s disease in 1988, Lambert remains relatively active and plays golf into his 80s. In 1999 he receives an honorary LLD from TCD. From 1997, he relies increasingly on Anthony Lyons, an acquaintance of longstanding, to care for him. His last years are overshadowed by the collapse in autumn 2002 of his close but complex relationship with his family. Thereafter he shuns his relations and changes his will, granting Lyons a substantial portion of his estate while curtailing the amount to be received by his family. He dies in a Dublin hospital on January 27, 2005. Relatives challenge his final will in the High Court in 2009 but it is upheld.

(Pictured: Photograph of director of Jacob’s Biscuits, Gordon Lambert, speaking from a podium at the first Jacob’s Television Awards. The Lord Mayor of Dublin, James O’Keefe, is sitting behind Lambert. The awards ceremony takes place at the Bishop Street factory, Dublin.)


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Birth of Seóirse Bodley, Composer & Associate Professor of Music at UCD

Seóirse Bodley, Irish composer and former associate professor of music at University College Dublin (UCD), is born George Pascal Bodley in Dublin on April 4, 1933. In 2008, he is the first composer to become a Saoi of Aosdána. He is widely regarded as one of the most important composers of twentieth-century art music in Ireland, having been “integral to Irish musical life since the second half of the twentieth century, not just as a composer, but also as a teacher, arranger, accompanist, adjudicator, broadcaster, and conductor.”

Bodley’s father is George James Bodley (1879–1956), an employee in the Dublin office of the London Midland & Scottish Railway Company, and later of the Ports and Docks Board. His mother, Mary (née Gough, 1891–1977), works for the Guinness Brewery. He attends schools in the Dublin suburbs of Phibsborough and Glasnevin before he moves at the age of nine to an Irish-speaking Christian Brothers school at Parnell Square. He later studies at the School of Commerce in Rathmines, where he obtains his Leaving Certificate.

Music is encouraged in his parents’ home, and Bodley receives initial lessons on the mandolin from his father and on the piano from his mother. He studies the piano, harmony and counterpoint at the Royal Irish Academy of Music and obtains a Licentiate in piano from Trinity College London (TCL). From the age of 13, he also enrolls for a time at the Brendan Smith Academy of Acting. While he is still at school, he receives his first lessons in composition privately from the Dublin-based German choral conductor Hans Waldemar Rosen (1904–94), which continues, on and off, until 1956. From his student days he performs as an accompanist to singers and takes part in chamber music performances. An important element in his musical education is the twice-weekly free concerts given by the Radio Éireann Symphony Orchestra in the Phoenix Hall, Dame Court, where he has the opportunity to hear leading Irish and international performers and conductors presenting both classics and modern repertory.

From 1952 Bodley studies for a Bachelor of Music degree from University College Dublin, mainly with Anthony Hughes. He obtains the degree in 1955. From 1957 to 1959 he studies composition (with Johann Nepomuk David) and conducting at the Württembergische Hochschule für Musik in Stuttgart, Germany, and a year later he obtains a Doctorate in Music from UCD. He also takes classes in conducting with Hans Müller-Kray and Karl Maria Zwißler, and in piano with Alfred Kreutz. He returns to Germany several times in the early 1960s to participate in courses at the Darmstädter Ferienkurse, which significantly expands his knowledge of avant-garde techniques.

From 1959 until his retirement in 1998, Bodley lectures at the university’s music department, becoming associate professor in 1984. During the 1960s, he is conductor of the Culwick Choral Society.

Bodley’s development as a composer sees several distinct phases. In the 1970s he merges avant-garde styles with elements from Irish traditional music and becomes a figure of national importance. He receives several prestigious commissions for large-scale works, such as Symphony No. 3 (1981), written for the opening of the National Concert Hall.

In 1982 Bodley becomes a founder-member of Aosdána and President Mary McAleese confers the distinction of Saoi on him in November 2008. McAleese says that Bodley “has helped us to recast what it means to be an artist in Ireland.”


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Birth of Richard Rowley, Poet, Playwright & Writer

Richard Valentine Williams, who writes poetry, plays and stories under the pseudonym of Richard Rowley, is born on April 2, 1877, at 79 Dublin Road in Belfast, in what is now Northern Ireland.

At the age of sixteen, Rowley enters the family firm, McBride and Williams, which manufactures cotton handkerchiefs and eventually becomes its managing director. After the collapse of the company in 1931 he is Chairman of the Northern Ireland Unemployment Assistance Board. His early poems, in The City of Refuge and Other Poems (1917), are rhetorical celebrations of industry. His next volume, City Songs and Others (1918), includes his most quoted poem, The Islandmen, and is regarded as containing his most original work: “Browning-like monologues straight from the mouths of Belfast’s working-class.”

In 1918, Rowley goes to live in the Mourne country, residing in Brook Cottage, Bryansford Rd., Newcastle, County Down. He writes short stories, including Tales of Mourne (1937), as well as at least one highly successful play, Apollo In Mourne (1926). During World War II, he founds, and runs from his Newcastle home, the short-lived Mourne Press. He publishes first collections of Sam Hanna Bell and Michael McLaverty, but the press fails in 1942.

With Bell, Rowley is one of a set of Linen Hall Library members who retires regularly to Campbell’s Cafe. The regulars, at various points, include writers John Boyd and Denis Ireland, actors Joseph Tomelty, Jack Loudon and J. G. Devlin, poets John Hewitt and Robert Greacen, artists Padraic Woods, Gerard Dillon, and William Conor and the Rev. Arthur Agnew, an outspoken opponent of sectarianism. The ebullient atmosphere the circle creates is a backdrop for the appearance of Campbell’s Cafe in Brian Moore‘s wartime Bildungsroman, The Emperor of Ice-Cream.

In 1946, Rowley sells Brook Cottage, which has since been demolished, and moves with his wife, the former Margaret Pollock, to Drumilly, Loughgall, County Armagh, as paying guests of their friends, Mr. and Mrs. Ralph Cope. He dies there on April 25, 1947.

George MacCann and Jack Loudan presents a commemoration of Rowley’s life on the radio in 1952. The programme uses recordings of his friends Lady Mabel Annesley, who illustrated several of his publications, along with the poet John Irvine, the playwright Thomas Carnduff and William Conor. In Newcastle, Rowley’s name is remembered through the Rowley Meadows housing development and the Rowley Path, which runs along the southern boundary of the Islands Park.

(Pictured: Blue plaque at Richard Rowley’s birthplace in Belfast, Northern Ireland)


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Death of Brendan O’Reilly, Athlete, Journalist, Actor & Singer

Brendan O’Reilly, Olympic high jumper, journalist, actor, singer-songwriter, dies in Dublin on April 1, 2001.

O’Reilly is born on May 14, 1929, in Granard, County Longford, one of six children of James P. O’Reilly, shopkeeper and musician, and Catherine O’Reilly (née Donegan). The family moves to Dublin when he is nine years old. He is educated at the Christian Brothers school in James’s Street, where he excels at Gaelic football and develops an interest in drama and music. Toward the end of his schooldays, he begins to participate in athletics, particularly the high jump, and is coached by Jack Sweeney, a leading athletics coach.

Always a man of many talents and interests, after leaving school O’Reilly combines working in the insurance business with an athletics career with Donore Harriers and evening drama classes. He wins several Irish titles, including the high jump, javelin, and decathlon, and sets a national record in the high jump. In 1954 he wins the British AAA Championships high jump title, beating the Commonwealth champion into second place, and setting a championship record of 6 ft. 5 in. (1.96 m). As a result, he secures a United States athletics scholarship to the University of Michigan, Ann Arbor, where he takes a degree in liberal arts, majoring in speech and drama. While at Michigan he improves his Irish record to 6 ft. 7 in. (2.007 m). His athletic career, however, is dogged with bad luck. He is selected to compete in the high jump at the European Athletics Championships in Bern, Switzerland, in 1954 but fractures an ankle in practice and fails to advance beyond the qualifying round. Although he competes at international level for ten years (1952–62), he is unlucky to never take part in the Olympic Games. A victim of sporting politics in 1952, as an NCAA athlete he is not entitled to compete. He is selected for the 1956 Summer Olympics in Melbourne but is unable to attend when, at the last minute, his club cannot provide the finance for him to attend. Earlier that year he wins the Big Ten Conference high jump title.

On leaving Michigan O’Reilly moves to New York City, where he embarks on an acting career with the Irish Players, but he returns to Dublin in 1959, where, after brief spells working as a teacher and for an advertising agency, he applies to Ireland’s new television station for a position. He is looking for an acting job but ends up being offered a position as a presenter, joining Teilifís Éireann in 1961 as an announcer/interviewer. His relaxed and unobtrusive style appeals to viewers and his light entertainment show, The Life of O’Reilly, is the most popular programme on Irish television in the day, eclipsing even a fledgling The Late Late Show. It is as a sports presenter and commentator, however, that O’Reilly is primarily remembered, as he becomes the face of sport on RTÉ Television for many years. He attends five Olympic Games as a broadcaster, from Mexico in 1968 to Los Angeles in 1984, commentating on athletics and gymnastics. The first presenter of RTÉ’s flagship Saturday afternoon sports programme Sports Stadium in 1984, he continues to present it over its fourteen-year life, co-presenting the final programme in December 1997. He also is the regular presenter of RTÉ’s Wimbledon Championships tennis coverage for many years, the sports results on news broadcasts on TV and radio, and Sunday Sport on RTÉ Radio, as well as commentating on individual sports such as ice-skating.

Although sports presenting is a natural progression for an athlete with his talents, O’Reilly’s real love is the arts. He continues to act, playing the part of Detective Inspector Michael Roarke in the classic children’s film Flight of the Doves (1971) with Ron Moody and Willie Rushton. He is also an accomplished singer and songwriter, and writes and performs his own one-man show, Across the Spectrum, comprising his own poems and songs in 1992. As well as a book of poems, The Great Explosion (1977), he releases a number of albums and tops the charts with his own song, “The Ballad of Michael Collins,” in 1981. He has a great admiration for Michael Collins, and this leads to his becoming the first non-political figure to give the oration at the annual Collins commemoration at Béal na Bláth, County Cork, in 1981. He also writes the song “Let the Nations Play” (1985), inspired by the boycotts of the Olympic games of 1980 and 1984, and the song is adopted as an anthem of the international Olympic movement.

Tall and slim in build, O’Relly is affable, modest, and self-deprecating in character. His relaxed style is no mere public affectation. He often exasperates colleagues by turning up just in time for broadcasts, and his ability to ad-lib is important in a live television environment. He once describes himself as “a champion high jumper who could enunciate properly and keep my hair neatly combed” (The Irish Times, April 7, 2001). Despite the disappointments in his sporting career, he maintains that his other interests more than compensated. In relation to the Olympics he is quoted as saying, “If you asked me whether I’d have preferred to win a medal or have written the song, I’d honestly say I would have preferred to have written the song” (Longford Leader, April 6, 2001).

O’Reilly lives in Ranelagh, Dublin, and is married twice. He meets his first wife Linda Herbst (née Kuhl) in New York in the late 1950s. His second marriage is to Johanna Lowry. He has four children. After a lenghty illness, he dies on April 1, 2001, in St. Vincent’s Hospital, Fairview, Dublin. He is buried at Mount Venus cemetery, Rathfarnham.

(From: “O’Reilly, Brendan” by Jim Shanahan, Dictionary of Irish Biography, http://www.dib.ie, October 2009)


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Birth of Ali McMordie, Bass Guitarist of Stiff Little Fingers

Alistair Jardine “Ali” McMordie, bass guitarist best known as a founding member of the punk rock band Stiff Little Fingers, is born in Belfast, Northern Ireland, on March 31, 1959. He plays with the band from 1977 until they break up in 1983 and joins them on the first few years of reunion tours five years later.

Prior to becoming Stiff Little Fingers, Jake Burns (vocals and guitar), Henry Cluney (guitar), Gordon Blair (bass), and Brian Faloon (drums), are playing in a rock music cover band, Highway Star (named after the Deep Purple song), in Belfast. Upon the departure of Blair, McMordie takes over on bass. Cluney has by this time discovered punk, and introduces the rest of the band to it. They decide that Highway Star is not a punk enough name, and after a brief flirtation with the name “The Fast,” decide to call themselves Stiff Little Fingers, after The Vibrators‘ song, which appears on the album Pure Mania.

Stiff Little Fingers is formed in 1977 at the height of the Troubles in Northern Ireland, which informs much of their songwriting. They are the first punk band in Belfast to release a record – the “Suspect Device” single comes out on their own independent label, Rigid Digits. Their album Inflammable Material, released in partnership with Rough Trade Records, becomes the first independent LP to enter the UK top 20.

In the face of low sales and concert attendances, Stiff Little Fingers disbands in 1983. McMordie joins a group of Reading musicians in the newly formed dance-punk band, Friction Groove. They secure a deal with Warner label, Atlantic Records, and go on to record an album, The Black Box, in Berlin and Brussels, from which the first single, “Time Bomb,” charts very briefly.

Around 1986 McMordie provides, along with other Friction Groove members, the core band behind Sinéad O’Connor, who had just arrived in London from Dublin. He is later sacked.

Between 1992 and 1994, McMordie is executive producer for the Peace Together Irish concert events. Since 1994 he has been the tour manager for American artist Richard Hall, AKA Moby, with whose band he has sometimes played bass. He has also been used as the live bassist for Belfast singer-songwriter Dan Donnelly, having played in Dan’s live band at the Beautiful Days music festival in Devon in 2006.

In 2006, it is announced that McMordie is rejoining Stiff Little Fingers for their current tour, and subsequently he rejoins the band on a permanent basis. As of 2021, he is still playing bass with Stiff Little Fingers.

Besides being a live musician, McMordie runs Alistair McMordie Tour Management.


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Death of John Arden, English Playwright

John Arden, English playwright, dies on March 28, 2012, in Galway, County Galway. At the time of his death, he is lauded as “one of the most significant British playwrights of the late 1950s and early 60s.”

Arden is born in Barnsley, South Yorkshire, England, on October 26, 1930. He is the son of the manager of a glass factory. He is educated at Sedbergh School in Cumbria, King’s College, Cambridge and the Edinburgh College of Art, where he studies architecture. He first gains critical attention for the radio play The Life of Man in 1956 shortly after finishing his studies.

Arden is initially associated with the English Stage Company at the Royal Court Theatre in London. His 1959 play, Serjeant Musgrave’s Dance, in which four army deserters arrive in a northern mining town to exact retribution for an act of colonial violence, is considered to be his best. His work is influenced by Bertolt Brecht and epic theatre as in Left-Handed Liberty (1965, on the anniversary of Magna Carta). Other plays include Live Like Pigs, The Workhouse Donkey, and Armstrong’s Last Goodnight, the last of which is performed at the 1963 Chichester Festival by the Royal National Theatre after it was rejected by the Royal Court.

Arden’s 1978 radio play Pearl is considered in a Guardian survey to be one of the best plays in that medium. He also writes several novels, including Silence Among the Weapons, which is shortlisted for the Booker Prize in 1982, and Books of Bale, about the Protestant apologist John Bale. He is a member of the Royal Society of Literature.

With his wife and co-writer Margaretta D’Arcy, Arden pickets the Royal Shakespeare Company (RSC) premiere of his Arthurian play The Island of the Mighty, because they believe the production to be pro-imperialist. They write several plays together which are highly critical of British presence in Ireland, where he and D’Arcy live from 1971 onward.

In 1961, Arden is a founder member of the anti-nuclear Committee of 100, and he also chairs the pacifist weekly Peace News. In Ireland, he is for a while a member of Official Sinn Féin. He is an advocate of civil liberties, and opposes anti-terror legislation, as demonstrated in his 2007 radio play The Scam.

Arden is elected to Aosdána in 2011 before dying in Galway on March 28, 2012. He is waked in a wicker casket.

(Pictured: Photograph of John Arden, 1960 bromide print on card mount, credit to Roger Mayne, National Portrait Gallery, London)


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U2’s Los Angeles Rooftop Video Shoot

Irish rock band U2 records the video for “Where the Streets Have No Name” on the rooftop of the Republic Liquor store in downtown Los Angeles on March 27, 1987, at a time when MTV still shows videos and U2 is unquestionably the biggest band in the world. The video shows police advising the U2 crew that they will shut down the performance due to crowd safety.

It takes place on the rooftop of the Republic Liquor store at 7th and Main. The location is now Margarita’s Place, a Mexican restaurant that still draws tourists. The impromptu performance is an homage to the Beatles final concert, as depicted in the film Let It Be. As lead vocalist and primary lyricist Bono says at the time, “It’s not the first time we’ve ripped off the Beatles.

The video shows the police about to shut down the show at any moment with one cop heard saying, “You’re drawing people in here from Orange County and all over the goddamned place. We’re shutting this location down.” According to band manager Paul McGuinness, the confrontation is overly dramatized. The band is hoping to get shut down by the authorities to garner publicity, but the police let them play.

The video is directed by Meiert Avis and produced by Michael Hamlyn and Ben Dossett and goes on to win a Grammy Award for Best Performance Music Video. Hamlyn is almost arrested following a confrontation with the police, according to an interview with Uncut magazine. Avis later says that “getting busted was an integral part of the plan.”

Bass guitarist Adam Clayton later says, “The object was to close down the streets. If there’s one thing people in L.A. hate, it’s streets closing down, and we’ve always felt bands should shake things up. We achieved it because the police stopped us filming. Were we worried about being arrested? Not at the time.”

The performance actually is not quite as impromptu as it appears. Prior to filming, a week is spent reinforcing the roof of the liquor store to ensure it will not collapse if fans swarmed onto it, according to Wikipedia. A backup generator is also put on the roof so shooting can continue if the authorities shut off the power on the primary generator. They also rebuild the sign for The Million Dollar Hotel, which can be seen in the background, as an added draw in case no one shows up.

The performance attracts about 1,000 people, not the 30,000 predicted in the radio clips at the beginning of the video. The audio is actually a studio recording, although the band plays four versions of the opening track hit from their 1987 album The Joshua Tree.

(From: “Flashback Monday: U2 Performs On A Roof In Downtown L.A.” by Sharon Knolle, LAist of Southern California Public Radio, laist.com, September 22, 2013)


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Birth of Playwright Michael Joseph Molloy

Michael Joseph Molloy, Irish playwright, is born March 3, 1914, in Milltown, County Galway, the son of William Molloy, originally of Glenamaddy, County Galway, who runs a shop at Milltown, and Maria Molloy (née Tucker), a native of Claremorris, County Mayo, and a teacher at Milltown girls’ school.

Molloy is the fifth in a family of five boys and three girls. Two other children die at birth. He is educated at Milltown national school and St. Jarlath’s College, Tuam, County Galway, from 1927 to 1931. His father dies when he is six years old and his uncle, Sonny Tucker, becomes an important influence, encouraging his life-long habit of extensive reading. In 1931 he goes to St. Columba’s Seminary at Dalgan Park, Shrule, County Mayo, but discontinues his studies for the priesthood when he contracts tuberculosis. He undergoes several operations, has to use crutches for three years, and is left with a permanent limp. While under the care of the sanatorium in Newcastle, County Wicklow, in the late 1930s, he is encouraged by a friend to attend a performance of two plays by George Bernard Shaw, Candida and Village Wooing, at the Abbey Theatre, Dublin. He becomes a regular playgoer and is inspired to begin a career as a dramatist.

Having lived in the family home at Milltown until 1955, he takes up residence at a nearby farmhouse on the marriage of his brother Christy. Despite his handicap, he works the small farm for the rest of his life to supplement the irregular income from his plays. He never marries and is attended by his housekeeper, Agnes Johnston. He is a familiar sight as he travels around his local area on the high bicycle he had fitted with one fixed pedal. The purpose of these journeys is to collect folklore, which provides a rich body of material for his plays and which he gathers into a prose volume, though this remains unpublished and privately held.

Molloy has nine of his thirteen plays produced at the Abbey Theatre, from Old Road in 1943 to Petticoat Loose in 1979. His plays reveal him as a folklorist in the line of John Millington Synge and draw on the same mixture of Christian and pagan beliefs, but with a more sympathetic understanding of his characters’ Catholicism. There is also the same strong vein of grotesque physical humour. His accomplished one-act play The Paddy Pedlar (1953) is based on a folk tale about a man carrying the body of his dead mother around in a sack and takes its bearings from an extraordinary amalgam of beliefs about the afterlife.

Molloy’s history plays re-create a world that shows the oppressions of colonialism on a subject race who respond with a wild anarchy mixed with subdued acceptance. His plays with a contemporary setting most often take emigration as their theme and are prophetic of later work by John B. Keane and Brian Friel. He writes in a heightened folk idiom, which only rarely loses touch with natural speech. Old Road wins an Abbey Prize and is staged in 1943 with Cyril Cusack as the young farm labourer trying to decide whether to emigrate to England or to stay in Ireland. Joseph Holloway gives a touching account of the shy author taking his curtain at this first production, who, though his lips move, is unable to say anything. The Visiting House follows in 1946, and dramatises a night of singing, dancing, and storytelling, peopled by a richly diverse cast of characters.

Molloy’s first masterpiece, The King of Friday’s Men, is launched in 1948. It takes the uncompromising theme of the droit du seigneur exercised by an eighteenth-century Anglo-Irish landlord on the most beautiful young women on his estate. His latest prey seeks to evade her fate by enticing the aged faction fighter, Bartley Dowd, to fight the landlord on her behalf. The play recreates that eighteenth-century world with colour, immediacy, and a strong sense of how the colonial system envelops all of the characters save the marginalised Bartley, who in the first production is played by the actor and author Walter Macken.

Molloy’s even greater The Wood of the Whispering follows in 1953 at the Queen’s Theatre, where the Abbey company is now playing. It is his most probing treatment of the effects of emigration, an issue of which Molloy, living in Galway, is only too aware. It is the most Beckettian of Irish plays, with its old tramp, Sanbatch Daly, and a host of older characters who are not so much eccentric as damaged in some profound way. At the play’s close Sanbatch feigns madness to gain entry to the asylum, though he is not in truth far from genuine madness. The various younger couples agree to stay and marry in Ireland rather than go their separate ways back to England. This idea of cultural renewal also underscores the importance Molloy places on the staging of his plays by amateur drama companies.

From the 1960s onwards Molloy’s plays are less readily accepted by the Abbey Theatre and a Dublin audience, but they still find a ready reception in his native place. In later works, such as Daughter from Over the Water (1963), the older characters retain their exuberance, but the younger ones seem beyond his reach. His last play, The Bachelor’s Daughter, is given its first performance by the Tuam Theatre Guild on March 3, 1985. The revival by Galway’s Druid Theatre of The Wood of the Whispering in 1983, which Molloy lives to see, is a revelation, and a reminder to the wider theatrical and academic world of the continuing importance of this playwright, not just as the ‘missing link’ between Synge and Keane but as an original in his own right.

In later years Molloy is a member of Aosdána. He dies of aortic aneurysms at Galway Hospital on May 27, 1994. He remains a committed Catholic all his life and his tombstone reads: “Woe to those who call evil good and who call good evil” (Isaiah, 5: 20).

(From: “Molloy, Michael Joseph” by Anthony Roche, Dictionary of Irish Biography, http://www.dib.ie, October 2009)


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Death of Pop Singer Dusty Springfield

Mary Isobel Catherine Bernadette O’Brien, English pop singer and record producer known professionally as Dusty Springfield, dies in Henley-on-Thames on March 2, 1999, following a long battle against cancer.

With her distinctive, sensual mezzo soprano sound, she is an important blue-eyed soul singer and, at her peak, is one of the most successful British female performers, with six top 20 singles on the United States Billboard Hot 100 and sixteen on the United Kingdom Singles Chart from 1963 to 1989. She is a member of both the U.S. Rock and Roll Hall of Fame and UK Music Hall of Fame. International polls name Springfield among the best female rock artists of all time. Her image, supported by a peroxide blonde bouffant hairstyle, evening gowns, and heavy make-up, as well as her flamboyant performances on the black and white television of the 1960s, make her an icon of the Swinging Sixties.

Born in West Hampstead, North London, on April 16, 1939, into an Irish family that enjoys music, Springfield learns to sing at home. In 1958, she joins her first professional group, The Lana Sisters, and two years later forms a pop-folk vocal trio, The Springfields, with her brother Tom Springfield. Her solo career begins in 1963 with the upbeat pop hit “I Only Want to Be with You.” Among the hits that follow are “Wishin’ and Hopin’” (1964), “I Just Don’t Know What to Do with Myself” (1964), “You Don’t Have to Say You Love Me” (1966), and “Son of a Preacher Man” (1968).

As a fan of U.S. pop music, she brings many little-known soul singers to the attention of a wider UK record-buying audience by hosting the first national TV performance of many top-selling Motown artists beginning in 1965. Although she is never considered a Northern Soul artist in her own right, her efforts contribute a great deal to the formation of the genre.

Partly owing to these efforts, a year later she eventually becomes the best-selling female singer in the world and tops a number of popularity polls, including Melody Maker‘s Best International Vocalist. She is the first UK singer to top the New Musical Express readers’ poll for Female Singer.

To boost her credibility as a soul artist, Springfield goes to Memphis, Tennessee to record Dusty in Memphis, an album of pop and soul music with the Atlantic Records main production team. Released in 1969, it has been ranked among the greatest albums of all time by the U.S. magazine Rolling Stone and in polls by VH1 artists, New Musical Express readers, and Channel 4 viewers. The album is also awarded a spot in the Grammy Hall of Fame. Despite its current recognition, the album does not sell well and after its release Springfield experiences a career slump for several years. However, in collaboration with Pet Shop Boys, she returns to the Top 10 of the UK and U.S. charts in 1987 with “What Have I Done to Deserve This?” Two years later, she has two other UK hits on her own with “Nothing Has Been Proved” and “In Private.” Subsequently in the mid-1990s, owing to the inclusion of “Son of a Preacher Man” on the Pulp Fiction soundtrack, interest in her early output is revived.

In January 1994, while recording her penultimate album, A Very Fine Love, in Nashville, Springfield falls ill. When she returns to the UK a few months later, her physicians diagnose breast cancer. She receives months of chemotherapy and radiation treatment, and the cancer goes into remission. In 1995, in apparent good health, she sets about promoting the album, which is released that year. By mid-1996, the cancer returns, and, in spite of vigorous treatments, she dies in Henley-on-Thames on March 2, 1999. Her induction into the Rock and Roll Hall of Fame in Cleveland, Ohio, is scheduled just two weeks after her death. Her friend Elton John helps induct her into the Hall of Fame, declaring, “I’m biased but I just think she was the greatest white singer there ever has been … Every song she sang, she claimed as her own.”

Springfield is cremated and some of her ashes are buried at Henley-on-Thames, while the rest are scattered by her brother, Tom Springfield, at the Cliffs of Moher, County Clare, Ireland.


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Birth of Leland Bardwell, Poet, Novelist & Playwright

Constan Olive Leland Bardwell, Irish poet, novelist, and playwright, is born Leland Hone in India on February 25, 1922. She was part of the literary scene in London and later Dublin, where she was an editor of literary magazines Hibernia and Cyphers.

Bardwell is born to Irish parents William Hone and Mary Collise and moves to Ireland at the age of two. Her father’s family are of the Anglo-Irish Hone family. She has a difficult childhood growing up in Leixlip, County Kildare. She is educated at Alexandra College and briefly studies in Switzerland. She works in a variety of jobs in Ireland and later Scotland, where, in 1948, she meets poet Michael Bardwell. The couple has two children and later separate.

Bardwell becomes a part of the literary scene of Soho in London, where she socialises with fellow writers, including Anthony Cronin, Francis Bacon, Patrick Kavanagh and Anthony Burgess. In the 1950s, she meets Fintan McLachlan, with whom she has three children, including the composer, John McLachlan. The family moves back to Dublin, where she works as a reviewer for Hibernia magazine and as a poetry editor.

From 1970 onward, Bardwell’s work is published regularly, starting with her first volume of poetry, The Mad Cyclist, which is later followed by her first novel, Girl on a Bicycle. She writes a number of plays and short stories, such as Outpatients, and her works are produced for RTÉ and the BBC. In 1984, she writes a musical play, No Regrets, based on the life of Édith Piaf. It opens at the Gaiety Theatre starring Anne Bushnell, and later tours across Ireland.

Bardwell’s work is heavily influenced by her difficult upbringing and her experiences in London and Dublin. In her memoir, A Restless Life, she describes her life as “a crescendo of madness.” She is considered an important poet by her contemporaries, who include Patrick Kavanagh, John Jordan, Paul Durcan, Macdara Woods and Michael Hartnett. On the publication of her fourth collection of poetry, The White Beach, Eilean Ni Chuilleanain states “it is good to see her work of the decades collected – it has inspired many Irish poets, male and female, and should be much more widely known,” adding that her work is “witty, full of sharp intimate honesty, full of truth and surprises.”

In 1975, Bardwell co-founds the long running literary magazine Cyphers with Eiléan Ní Chuilleanáin and Macdara Woods, and acts as a co-editor until 2012. She is the recipient of the Marten Toonder Award in 1993, and the Dede Korkut Short Story Award from Turkish PEN in 2010.

In later life, Bardwell moves to Annamakarraig in County Monaghan and later to Cloonagh in County Sligo, where in 1993 she co-founds the Scríobh Literary Festival. She is a member of the Irish artists’ association Aosdána and acts as one of Patrick Kavanagh’s literary executors.

Bardwell dies at the age of 94 in Sligo, County Sligo, on June 28, 2016.

(Photo by Pat Boran)