Carr spends the majority of her childhood in Pallas Lake, County Offaly, adjacent to the town of Tullamore. Her father, Hugh Carr, is a playwright and studies music under Frederick May, while her mother, Maura Eibhlín Breathnach, is the principal of the local school and writes poetry in Irish. It is said that “there were a lot of literary rivalries.” As a child, she and her siblings build a theater in their shed.
O’Kelly is born James Kelly in Mobhill, Loughrea, County Galway, youngest of seven (or possibly eight) children of Michael Kelly, corn merchant, and his wife, Catherine Fitzgerald. His date of birth is uncertain. Some commentators believe he is the James Kelly whose birth was registered on November 16, 1875, but relatives claim this was a sibling and namesake who died prematurely. His death certificate implies he was born in 1878, and family members maintained he was born in 1880.
Loughrea is at the centre of the bitterly fought plan of campaign agitation on the Clanricarde estate from the late 1880s. Many tenants in the town and surrounding rural districts are evicted for non-payment of rent, and Lord Clanricarde resists reinstatement until the estate is purchased by special legislation shortly before World War I. According to one source, the O’Kellys are themselves evicted during the Plan of Campaign, though they seem to retain a degree of financial stability. A widespread perception that nationalist politicians had exploited the evicted tenants contributes to the relative strength of Parnellism in the area, and the early appearance of Sinn Féin. This background inspires such works as O’Kelly’s 1917 play, The Parnellite.
While growing up in Loughrea, O’Kelly is profoundly influenced by contact with older relatives and country folk from whom he learns some Irish and the folklore/storytelling tradition that shapes many of his stories. The example of his mother and friendship with the local Carmelite fathers, whom he serves as an altar boy, gives him a strong commitment to Catholicism. This coexists in his work with an Ibsenite-Parnellite insistence on individual defiance of conformity, and a gentle exaltation of the sensitive dreamer isolated from the life around him. The mixture is sometimes uneasy. His observations on domestic violence, the sexual exploitation of servant girls by hypocritically pious employers, and prejudice against children born outside marriage or raised in the workhouse are unobtrusive but biting. His play, The Bribe (1913), gives a devastating depiction of the social and economic pressures which induce a small-town shopkeeper and poor law guardian to accept a bribe to appoint an underqualified dispensary doctor, with disastrous results. The corrupt and snobbish doctor is called Power O’Connor, an unsubtle hit at the nationalist MP, T. P. O’Connor. This element of social observation distinguishes him from the more symbolist city-born Daniel Corkery, to whom he is often compared. Much of his writing is recognisably set in Loughrea.
O’Kelly begins working as a journalist on local papers, including the Midland Tribune, the Tuam News, and the Connacht Leader. He becomes editor of The Southern Star, based in Skibbereen, County Cork, in 1903, and is said to be the youngest newspaper editor in Ireland at the time. He moves to Naas, County Kildare, in 1906, as editor of the Leinster Leader. Here he lives in a house by the canal, which provides the inspiration for his linked series of short stories, The Golden Barque, along with his father, a nephew, and his brother Michael. Already a contributor to The United Irishman published by Arthur Griffith, and later its successor, Sinn Féin, he is active in the Naas Sinn Féin club and makes regular weekend visits to Dublin, where Griffith introduces him to Dublin literary circles. Here his closest friends are James Stephens, whose influence is visible in the more whimsical and fantastic elements of O’Kelly’s work, and Seumas O’Sullivan, who recalls O’Kelly as a man of remarkable gentleness and integrity.
O’Kelly’s journalistic career is accompanied by his development as a writer, publishing stories in a variety of outlets, including the Irish Rosary and the Irish Packet. From 1908 he has several plays produced by the Theatre of Ireland, a nationalist-oriented rival to the Abbey Theatre. Lustre (1913), written jointly with Casimir Markievicz, later becomes the basis for a Soviet film.
Around 1911, O’Kelly suffers a severe attack of rheumatic fever, which leaves him with a chronic heart condition and a strong sense of mortality. He continues to write extensively and with increasing skill. He becomes editor of Dublin’s The Saturday Evening Post in 1912 and moves to Dublin, where he lives in Drumcondra. At this time he is an occasional contributor to The Manchester Guardian, turning down a permanent job on that paper. He leaves the Post in 1915 because of continuing ill-health and is offered the editorship of The Sunday Freeman but has to retire after two weeks. He then returns to Naas. At this time his play Driftwood, commissioned by Annie Horniman, is produced in Manchester and London.
When O’Kelly’s brother is interned after the Easter Rising, he resumes the editorship of the Leinster Leader until his brother’s release at Christmas 1916. He also contributes topical articles to the Sunday Independent. His literary reputation continues to increase with a short story collection, Waysiders (1917), and his best-regarded full-length novel, The Lady of Deerpark (1917), a melancholy story about the last heiress of a declining Catholic gentry family. Another novel, Wet Clay (1922), is published posthumously and is the story of the tense relationship between a “returned Yank” and his small-farmer cousins, which shows deeply unresolved ambivalence about the nature and prospects of Irish rural society after the Land War.
When Griffith and many other Sinn Féin activists are arrested and imprisoned in May 1918, O’Kelly returns to Dublin to edit the Sinn Féin paper Nationality. During the days after the Armistice of November 11, 1918, a crowd of soldiers and women whose husbands are serving in the British Army attack the paper’s premises, which are also the headquarters of Sinn Féin. As a result of these attacks O’Kelly suffers a cerebral haemorrhage which leads to his death on November 14, 1918.
O’Kelly’s funeral turns into a major political demonstration and his status as a nationalist martyr leads to the posthumous publication of many of his works. These include the novella, The Weaver’s Grave (1920), generally regarded as his masterpiece. It has been reprinted regularly and translated into several languages. A 1961 Radio Éireann adaptation by Micheal Ó hAodha wins the Prix Italia. The twenty-fifth and fiftieth anniversaries of his death see various commemorations in his honour and a short-lived Seumas O’Kelly Society is founded in 1968. O’Kelly never marries but is said to have cherished a hopeless passion for the actress and nationalist activist, Máire Níc Shiubhlaigh, for whom he writes the play The Shuiler’s Child (1909).
(From: “O’Kelly, Seumas” by Patrick Maume, Dictionary of Irish Biography, http://www.dib.ie, October 2009)
Thomas F. Kilroy, Irish playwright and novelist, is born on September 23, 1934, in Green Street, Callan, County Kilkenny. He is a difficult writer to categorize, having written plays ranging from the conventional The Death and Resurrection of Mr. Roche to more technically innovative and avant-garde works such as Talbot’s Box and The Secret Fall of Constance Wilde. Nevertheless, common thematic concerns run throughout many of his plays, including the issue of personal and cultural—specifically, Irish versus English—identity and the mythologizing of the past. Best known as a playwright, he is also the author of the Booker Prize-shortlisted novel The Big Chapel (1971).
Kilroy is the son of Thomas and Mary (née Devine) Kilroy. He attends St. Kieran’s College and plays hurling for the school team, captaining the senior team in 1952. He studies at University College Dublin, where his first play, The Death and Resurrection of Mr. Roche, is produced to great success at the Olympia Theatre. In his early career he is play editor at the Abbey Theatre in Dublin. In the 1980s, he sits on the board of Field Day Theatre Company, founded by Brian Friel and Stephen Rea in 1980, and is Director of its touring company.
In 1978, Kilroy is appointed Professor of English at University College Galway, a post from which he resigns in 1989 to concentrate on writing.
In 2008, Kilroy receives the Irish PEN Award, given to honour an Irish-born writer who has made an outstanding contribution to Irish literature.
While some of Kilroy’s plays hit a lighter note than others, the common thread in most of them is his attempt to address some of the social upheavals that have occurred in Ireland in the past and present. This has been a concern of his since he was in his twenties and wrote in the 1959 essay “Groundwork for an Irish Theatre” that his contemporaries were “inclined to shirk the painful, sometimes tragic problems of a modern Ireland which is undergoing considerable social and ideological stress.” Although he has not been one of Ireland’s most prolific playwrights, his plays may certainly be considered important contributions to the modern stage.
Redmond is one of four children born to cabinet-maker Thomas and Eileen Redmond. Educated at the Christian Brothers schools in Dublin, he later attends University College Dublin and initially reads medicine before moving into drama.
While Director of the Dramatic Society Redmond meets and marries the society’s secretary, Barbara MacDonagh, sister of Donagh MacDonagh and daughter of 1916 Easter Rising leader Thomas MacDonagh and Muriel Gifford. They have four children.
Redmond is invited to join the Abbey Theatre in 1935 as a producer by William Butler Yeats, the Irish poet. Yeats writes his play Death of Cú Chulainn for Redmond to star as Cú Chulainn, hero of one of Ireland’s foundational myths.
Redmond makes his acting debut at the Abbey Theatre in 1935 in Seán O’Casey‘s The Silver Tassie. His first stage appearance is in 1939 in New York City in The White Steed. After returning to Britain at the outbreak of World War II he is a regular on the London stage. He is one of the founders of the Writers’, Artists’, Actors’ and Musicians’ Association (WAAMA), a precursor of the Irish Actors’ Equity Association. His insistence that “part-time professionals” – usually civil servants who act on the side – should be paid a higher rate than professional actors for both rehearsal time and performance, effectively wiping out this class, raising the wages and fees of working actors.
In 1910 Day forms the local Irish Women’s Franchise League branch in Cork as an activist group for women’s suffrage. The following year she leaves that group and founds the non-militant Munster Women’s Franchise League. Her new interest in politics leads to her winning the election of poor law guardians the same year. Her later writings reveal that she sees the Cork workhouses as an expensive self-perpetuating evil run by amateurs. This leads to her first novel, The Amazing Philanthropists (1916). From 1913 to 1917 she writes three plays for the Abbey Theatre in collaboration with Geraldine Cummins, Broken Faith (1913), The Way of the World (1914), and Fox and Geese (1917), which is the most successful of the three.
The Battle of Verdun lasts most of 1916 and during that time Day is amongst a group from the Society of Friends who cares for the wounded. She is in France for fifteen months and uses the experience to create her 1918 book Round about Bar-le-Duc. Where the Mistral Blows is published in 1933 and describes her time in Provence in France.
Day works as a member of the fire service in London during World War II. She lives in Cork, France and London. At the time of her death she is living at 47 Argyle Road, Kensington, London. She dies in the Cromer and District Hospital on May 26, 1964.
The work of Suzanne Rouviere Day and Geraldine Cummins has been described as a mixture of paganism and melodrama and has been suggested as a precursor to John B. Keane.
(Pictured: Suzanne R. Day in the cast of the 1901 production of The Mikado, Cork, County Cork)
Bill Whelan, composer and musician, is born in Limerick, County Limerick, on May 22, 1950. He is best known for composing a piece for the interval of the 1994 Eurovision Song Contest. The result, Riverdance, is a seven-minute display of traditional Irish dancing that becomes a full-length stage production and spawns a worldwide craze for Irish dancing and Celtic music. It also wins him a Grammy. Riverdance is released as a single in the UK in 1994, credited to “Bill Whelan and Anúna featuring the RTÉ Concert Orchestra.” It reaches number 9 and stays on the charts for 16 weeks. The album of the same title reaches number 31 in the album charts in 1995.
Whelan also composes a symphonic suite version of Riverdance, with its premiere performed by the Ulster Orchestra on BBC Radio 3 in August 2014.
As an arranger and composer, Whelan’s credits include:
The Seville Suite, which is inspired by the exploits of Aodh Rua Ó Dónaill from the Battle of Kinsale in 1601 until his arrival in Galicia to the welcome of The Spanish Earl of Caraçena. In addition to the orchestra, The Seville Suite includes Celtic music on uilleann pipes, accordion, bodhrán, fiddle as well as Galician harp, whistles and pipes.
The Spirit of Mayo, performed by an 85-piece orchestra in Dublin‘s National Concert Hall and featuring a powerful Celtic drum corps and a 200 strong choir and choral group Anúna.
Whelan’s Celtic/Orchestral release, The Connemara Suite, features the Irish Chamber Orchestra along with soloists Zoë Conway, Morgan Crowley, Colin Dunne (Dance Percussion) and Fionnuala Hunt.
Eugene Rutherford Watters is the eldest of two sons and two daughters born to Thomas Watters, a soldier, and his wife, Maud Sproule. His second name comes from his grandfather, Rutherford Sproule. He is educated at Garbally College. He enters St. Patrick’s Teacher Training College, Drumcondra, Dublin, in 1939, graduating with a Diploma in Education in 1945. He is awarded an MA, by University College Dublin in 1947.
Ó Tuairisc writes novels, verse, drama and criticism in both Irish and English. His first major publication is his controversial novel Murder in Three Moves (1960), followed by the Irish-language prose epic L’Attaque (1962), which wins an Irish Book Club award. Both works have a strong poetic flavour. His next book is a volume of verse entitled Week-End. His narrative poem The Weekend of Dermot and Grace (1964), an Irish version of Venus and Adonis, is considered his finest work.
Ó Tuairisc’s first wife, the Irish artist Una McDonnell, dies in 1965. He produces little during the five years following McDonnell’s death, which is an unsettled period of limited productivity, changing residence and jobs, and, ultimately, serious depression. In 1972 he marries the writer Rita Kelly, also of Ballinasloe. They live in the lock house at the Maganey Lock on the River Barrow that he had bought near Carlow, County Carlow.
In 1981 Ó Tuairisc publishes The Road to Brightcity: and other stories (Swords: Poolbeg Press, 1981), a translation of nine of the best short stories written originally in Irish by Máirtín Ó Cadhain. Also in 1981, he and Rita Kelly publish a joint collection of their poems, Dialann sa Díseart.
Like Diarmaid Ó Súilleabháin, Ó Tuairisc “challenged the critical orthodoxy by openly proclaiming that their standards could not be those of the Gaeltacht and by demanding a creative freedom that would acknowledge hybridity and reject the strictures of the linguistic purists.”
Ó Tuairisc is an inaugural member of Aosdána, when it is founded in 1981, and the first of its members to die. He is a recipient of an Arts Council of Ireland prize, as well as an Abbey Theatre prize for a Christmas pantomime in Irish.
Ó Tuairisc dies on August 24, 1982. He is survived by his second wife, Rita. A bibliography of his work, together with biographical information, is published in Irish in 1988.
Yeats spends her first three years between Ballylee, County Galway, and Oxford before her family moves to 82 Merrion Square, Dublin in 1922. She is very sick as a child and spends three years in two different hospitals, St. Margaret’s Hall, 50 Mespil Road, and Nightingale Hall, Morehampton Road, Dublin. She then goes to the Pension Henriette, a boarding school in Villars-sur-Bex, Switzerland from 1928–30. In 1923 her Aunt Elizabeth “Lolly” gives her brush drawing lessons which aid her in winning first prize in the Royal Dublin Society (RDS) National Art competition for children under eight years old in 1925 and 1926.
Yeats trains in the Royal Hibernian Academy school from 1933 to 1936 and works as a stage designer with the Abbey Theatre in Dublin. In 1936, at the age of 16, she is hired by the Abbey Theatre as assistant to Tanya Moiseiwitsch. She studies for four months at the School of Theatrical Design in Paris with Paul Colin in 1937. At 18, she begins her costume career on sets with Ria Mooney‘s company. At the Abbey, she designs the sets and costumes for revivals of W.B. Yeats’ plays The Resurrection and On Baile’s Strand (1938).
In 1938 Yeats designs the first production of W.B. Yeats’ play Purgatory. The designs for Purgatory are her most successful achievement. Purgatory is the last play that W.B Yeats sees on stage, and when it is performed it is a full house. When working on Purgatory, Hugh Hunt wants to have a moon on the back cloth of the production, but she refuses. “If she does not win, she is going to say that she doesn’t wish to have her name on the programme as a designer of the setting.” This could be the main reason why her name is not on many productions that she worked on. She also designs the first play of her uncle Jack Yeats to receive professional production, Harlequin’s Positions.
In 1939 Yeats is promoted to head of design at the Abbey until her departure in May 1941. In 1939 it is commented that her designs are “getting arty” and not in keeping with style of the Abbey. One of her last designs is her father’s last play, The Death of Cuchulain, for the Lyric Theatre on the Abbey stage in 1949. She designs and stage-manages for the Peacock Theatre, the Cork Opera House, the Olympia Theatre, the Gaiety Theatre, the Lyric Theatre, the Abbey Theatre and the Players Theatre.
Among the work Yeats is credited with in the Abbey Theatre, she also works on five productions in the Peacock Theatre with the Theatre Company: Alarm Among the Clerks (1937), The Phoenix (1937), Harlequin’s Positions (1939), The Wild Cat (1940), and Cavaliero (The Life of a Hawk) (1948).
Yeats chooses to move towards painting full-time beginning a brief study at the Dublin Metropolitan School of Art in 1941. She experiments with watercolour and wax. She has a touching naive expressionist style and is interested in representing domestic humanity. She designs many of the covers for the books of Irish language publisher Sáirséal agus Dill over a twenty-year period from 1958. She does illustrations for books by Denis Devlin, Thomas Kinsella and Louis MacNeice, and works with many young designers, such as Louis le Brocquy.
Yeats dies at the age of 82 on July 4, 2001, and is buried in Shanganagh Cemetery, south Dublin.
The Royal Hibernian Academy holds a retrospective of her work in 1995, as does the National Gallery of Ireland in 2002. She donates her collection of Jack B. Yeats’ sketch books to the National Gallery of Ireland, leading to the creation of the Yeats Museum within the Gallery. Her brother, Michael, in turn, donates her sketchbooks to the Museum.
(Pictured: “Coole Park,” oil on board by Anne Butler Yeats, Duke Street Gallery, Dublin)
Cowley is born September 8, 1923, in Ardbraccan, Navan, County Meath, the third child of Patrick Cowley, a small farmer, and his wife Margaret. Educated at the local national school, he leaves at the age of thirteen to work on the family farm. He also works with a horse and cart drawing stones from a local quarry. He is an enthusiastic amateur actor and learns his trade in the fit ups of the forties and fifties. Moving to England, he gets parts in television shows such as Z-Cars and No Hiding Place. During the 1950s and 60s, he is also very active in theatre, and has a long association with the Globe theatre company in Dún Laoghaire, which he joins in 1956. He also plays in the Abbey, Gate and Olympia theatres, travels Europe in 1960–61 with John Millington Synge‘s The Playboy of the Western World, and stars in the early Hugh Leonard play I Loved You Last Summer.
Cowley is best known for his portrayal of the bluff countryman Tom Riordan in RTÉ’s rural drama, The Riordans. First airing on January 4, 1965, it runs until May 28, 1979. One of RTÉ’s most successful programmes, it has a huge audience and a considerable social impact through its treatment of controversial topics such as divorce, contraception, and mixed marriages. When it ends in 1979 Cowley is bitterly disappointed and accuses RTÉ of throwing him on the scrap heap. After this he continues to work in theatre and has occasional appearances on screen, including a part in Jim Sheridan‘s The Field (1991) and the British espionage television series, The Avengers.
Cowley also writes poetry and a play, A Fool and His Money. His other hobbies include a passion for history (particularly the 1798 period), hurling, Gaelic football, boxing, and swimming. A patron and a founder member of the Irish Council Against Blood Sports in 1967, he is a leading opponent of hare coursing, popularising the cause through an appearance on The Late Late Show in 1967.
In 1953 Cowley marries Annie D’Alton, an actor who later appears with him in The Riordans, two years after the death of her first husband, the dramatist Louis D’Alton. They have one son.
Cowley dies in Navan on February 13, 1998. His wife precedes him in death in March 1983.
Weldon is born on September 6, 1890, in Hiskinstown, Delvin, County Westmeath, the eldest son of James Weldon, a schoolteacher, originally of Ballinea, Mullingar, and Fanny Weldon (née Duncan). He attends his father’s school at Delvin until he is eighteen, and the relationship between father and son is to remain rather formal and strict.
Stimulated by the visiting fit-up theatrical companies and of news from Dublin of the Abbey Theatre, in September 1908 he takes the lead in a local staging of a political melodrama, Robert Emmet by Henry C. Mangan. The following summer he leaves for Dublin, ostensibly to become a civil servant but in fact to audition as an actor at the Abbey Theatre. His acting career with the Abbey Theatre begins in September 1910 with a role in R. J. Ryan’s The Casting-out of Martin Whelan.
MacNamara is the author of several novels, the most well-known of which is his first, The Valley of the Squinting Windows (1918), its title a byword for small-town hypocrisy and begrudgery. The work itself is an uneasy fusion of a satiric portrait of gossipy, prying women and dipsomaniacally drinking men with a naturalist tragedy in which the sins of the past repeat themselves in the lives of the younger characters. The novel’s frank treatment of sexual matters is eclipsed as a cause of offence by the unflattering portrayal of almost all the inhabitants of the fictional village called Garradrimna, a place that local people feel would be automatically identified as Delvin. In the ensuing controversy the novelist’s father, James Weldon (widely suspected of being the author), and his school are subject to boycott. His attempts to seek legal redress in 1923 are unsuccessful.
MacNamara continues to write for many years after this controversial first work, and locates most of his later fiction in Garradrimna, in the Irish Midlands. Among his plays are The Glorious Uncertainty (1923) and Look at the Heffernans! (1926). His work is part of the literature event in the art competition at the 1924 Summer Olympics in Paris.
In 1925 McNamara is appointed registrar to the National Gallery of Ireland in Dublin, a position he holds until his retirement in 1960. In 1932 he becomes one of the first members of the Irish Academy of Letters, and in 1935 joins the board of directors of the Abbey Theatre.
MacNamara marries Helena Degidon, a schoolteacher, in 1920. His later years are dogged by increasing ill health and he dies at Sir Patrick Dun’s Hospital, Dublin, on February 4, 1963.
seamus dubhghaill 