Having begun his career as a freelance musician, playing with the BBC Philharmonic orchestra and English National Opera North, an accident ends Cusack’s career as a musician, resulting in him pursuing a career in arts administration. Initially he focuses on the classical music sector, working at two leading concert venues in London, the Wigmore Hall and the Southbank Centre.
In 1992, Cusack makes his first move into theatre following his appointment as Administrative Director of West Yorkshire Playhouse in Leeds, alongside Jude Kelly, where he produces a number of plays including the touring production of Five Guys Named Moe for Cameron Mackintosh Limited. In 1996, he is appointed Head of Planning of the Royal National Theatre under the outgoing artistic director, Sir Richard Eyre, and subsequently with Sir Trevor Nunn and Sir Nicholas Hytner. In 2009, he becomes the National Theatre’s Associate Producer. During this period, he produces numerous productions for tour both in the UK and internationally, taking the work of the National Theatre to five continents. Alongside this, he works as a touring consultant for the Abbey Theatre in Dublin, the Royal Court Theatre, London, Fiery Angel in London’s West End, Canadian Stage in Toronto, Bangarra Dance Theatre in Sydney, TheEmergencyRoom and Corn Exchange in Dublin and Galway International Arts Festival. In June 2016, he is appointed Executive Producer of Wales Millennium Centre in Cardiff. In addition to this, he is Consultant Producer to the National Centre for the Performing Arts (India) in Mumbai.
As well as his theatre producing work, Cusack offers representation to a number of Irish artists including the director Annie Ryan, the composer Mel Mercier and the British playwrightMatt Wilkinson.
In 2023, Cusack is the recipient of the Olwen Wymark Award from the Writers’ Guild of Great Britain for his championing of new writing which is presented at the 18th Annual Awards Ceremony in London.
Allen is born on July 6, 1936, in a nursing home at 37 Lower Leeson Street, Dublin, the youngest of three sons of (Gerard John) Cullen Tynan Allen, journalist, manager of The Irish Times, and raconteur, and his wife Jean Ballantyne (née Archer), an English-born nurse. His paternal grandmother, Nora Tynan O’Mahony, is the first women’s features editor of the Freeman’s Journal, and the poet Katharine Tynan is his great-aunt. Allen loses half a finger on his left hand in a childhood accident which becomes a favourite theme (and occasional prop) in his shows.
After initially attending Beaumont convent school, Allen goes to Firhousenational school, County Dublin, near the family residence outside Templeogue. For a period during World War II, he lives with his mother and brothers at Keenagh, County Longford, where they had moved for fear that Dublin might be targeted by air raids. On returning to Dublin, he goes to Terenure College, run by the Carmelite fathers. His reminiscences in later life often centre on memories of frequent and sadistic corporal punishment, and warnings from priests that adolescent male sexuality is a device of Satan leading straight to hell. His resentment is formative in his lifelong and outspoken atheism.
Allen, who is close to his father, is severely affected emotionally by his death in 1948, after which his relations with the school deteriorate further. The discovery that his father’s drinking and gambling had left the family heavily indebted means that, notwithstanding assistance from journalistic friends, his elder brothers are obliged to leave school and work as journalists to support the family. Restless and even more discontented at school than previously, he often plays truant to visit museums and art galleries. Expelled from Terenure College, he briefly attends the Catholic University School before leaving school at the age of 16. After working as a clerk for the Irish Independent, in 1954 he becomes a journalist on the Drogheda Argus, reporting weddings and gymkhanas. He later attributes this career path to the contemporary tradition of following a family profession.
Moving to London but failing to secure a job on a Fleet Street newspaper, Allen follows his brother John by becoming a “redcoat” attendant at Butlin’s holiday camps in Filey (Yorkshire), Skegness, Margate, and Brighton, performing various functions and telling jokes and stories during intervals between stage acts. In the winters he sells educational toys in Sheffield. Acquiring an agent, he becomes a professional comedian, adopting the stage name Dave Allen. He initially works the declining club and variety circuit, later claiming that he had toured with the last old-style nude tableaux show. In 1959, he makes his first television appearance on the BBC talent show New Faces and realises that television is the medium of the future. He tours with pop singer Helen Shapiro in 1963 and 1964, joined in the latter year by an emerging support band, the Beatles. At this period, he models himself on American stand-up comedians such as Jerry Lewis, focusing his act on discrete gags leading up to a punchline.
While performing in support of the singer Helen Traubel in Australian nightclubs, Allen often reminisces to her off stage about his early life. Traubel suggests that he incorporate such material into his act. Such is the genesis of his mature style of rambling absurdist monologues, which he describes as influenced by the Irish storytelling tradition in general, and his father’s stories in particular. After appearing in Melbourne and Sydney, he becomes the host of a ninety-minute chat show, Tonight with Dave Allen, on Sydney-based Channel 9. Eighty-four episodes are recorded of what becomes one of Australian television’s most successful programmes ever, its popularity boosted by the rumour that he is having an affair with singer Eartha Kitt, his hilarious interviews with eccentrics, and the frequent deployment of dangerous animals onstage.
Allen marries the English actress Judith Stott in Australia on March 9, 1964, a divorcée with one son. They have two children, including the comedian Ed Allen (Edward James Allen). After separating in 1980, the couple divorces in 1983. Returning to England in December 1964 to be with his wife, he establishes a reputation there through well-received performances as a compère at the televised Sunday Night at the London Palladium (1967) and The Blackpool Show (1966). After a slot as resident comedian on The Val Doonican Show (1965–67), he obtains his first stand-alone show, Tonight with Dave Allen, in 1967 on ITV, a mixture of sketches with the monologues for which he becomes best known. He usually performs seated on a barstool, smoking a cigarette, and sipping from a presumed glass of whiskey (actually ginger ale), while musing on the oddities of life, often expressing his suspicion of authority figures. His signature farewell phrase is “Goodnight, and may your God go with you.”
On BBC television Allen headlines two programmes: The Dave Allen Show (1968–69), and Dave Allen at Large (1971–79). He writes much of his own material, compulsively scouring newspapers for items that he can work into his act. He resists suggestions that he should move to an early evening slot, as this would entail restrictions on his material. In the 1970s and 1980s he tours widely with a one-man stage show, “An evening with Dave Allen,” containing more “adult” material than would be allowed on television at the time. His stage performances are less well-received in the United States than elsewhere.
Allen’s treatment of sex and religion involves him in frequent controversies. Priests and the confessional are frequent targets. In 1975, he provokes widespread protests from Catholics over a sketch in which the pope, played by Allen himself, and his cardinals perform a striptease on the steps of St. Peter’s Basilica. In 1977, his shows are banned from RTÉ. In 1984, the British anti-indecency campaigner Mary Whitehouse formally complains about his televised act, with particular reference to a simulated post-coital conversation. As with many stage comedians, his angry and outspoken stage persona contrasts with a reserved offstage life. He keeps his stage persona distinct from his private life and does not allow his children to attend his shows.
Allen gives occasional straight performances, notably in Edna O’Brien‘s plays A Pagan Place (1972) and Flesh and Blood (1985); in the dual roles of Captain Hook and Mr. Darling in a production of Peter Pan (1973); and in Alan Bennett‘s television play One Fine Day (1979). He has a supporting role in the Australian comedy film Squeeze a Flower (1970). He also presents several documentaries, notably Dave Allen in the Melting Pot (1969); surveying life in New York City, he discusses racism and drug addiction and conducts one of the first television interviews with openly gay men. Other documentaries for ITV include Dave Allen in Search of the Great English Eccentric (1974), and Dave Allen (1978), which deals with American eccentrics. Long fascinated with ghost stories, he publishes an anthology of horror stories, A Little Night Reading (1974).
In the 1980s, Allen is regarded by many fans of the new, politically engaged “alternative comedians” as old-fashioned. His leisurely style contrasts with their quick-fire delivery, and some of his references to the Irish and other ethnic groups are seen as demeaning. He makes a partial television comeback with a six-part BBC One series, Dave Allen (1990), using considerably more outspoken material than he had previously deployed on television.
In 1993, Allen appears in a six-part series for the new ITV London franchise, Carlton Television. Thereafter he moves into semi-retirement, partly because of health problems, while continuing to make guest television appearances. At the British Comedy Awards he is named best comedy performer (1993) and is granted a lifetime achievement award (1996). He occasionally releases videos of older material “to keep myself in the style to which I had become accustomed – a bit of an Irish retirement, actually.” He maintains tight editorial control over his recordings, having been annoyed when his first television shows were chopped and changed when re-broadcast by American networks. They are released on DVD after his death. He presents a six-part BBC series based on his old material, The Unique Dave Allen (1998). After giving his last performance on BBC Radio 4 in 1999, he retires and devotes himself to his hobby as an amateur painter.
After a seventeen-year relationship, Allen marries secondly Karin Stark, a theatrical producer, on December 9, 2003. Their one son is born three weeks after Allen dies peacefully in his sleep as a result of sudden arrhythmic death syndrome on March 10, 2005, in Kensington, London.
A selection of his routines, edited by Graham McCann, is published as The Essential Dave Allen (2005). His obituarists see him as prefiguring the aggressive mocking of authority by the alternative comedians who had once criticised him, and as paving the way for such irreverent and anti-deferential satire of political and religious authority as Not the Nine O’Clock News and Father Ted. The widespread use of the monologue by Irish dramatists such as Conor McPherson in the first decade of the twenty-first century also owes something to his influence.
(From: “Allen, Dave” by Patrick Maume, Dictionary of Irish Biography, http://www.dib.ie, June 2011)
Mac Liammóir is born Alfred Willmore on October 25, 1899. He is born to a Protestant family living in the Kensal Green district of London.
As Alfred Willmore, he is one of the leading child actors on the English stage, in the company of Noël Coward. He appears for several seasons in Peter Pan. He studies painting at London’s Slade School of Fine Art, continuing to paint throughout his lifetime. In the 1920s he travels all over Europe. He is captivated by Irish culture and learns the Irish language which he speaks and writes fluently. He changes his name to an Irish version, presenting himself in Ireland as a descendant of Irish Catholics from Cork. Later in his life, he writes three autobiographies in Irish and translates them into English.
While acting in Ireland with the touring company of his brother-in-law Anew MacMaster, Mac Liammóir meets the man who becomes his partner and lover, Hilton Edwards. Their first meeting takes place in the Athenaeum, Enniscorthy, County Wexford. Deciding to remain in Dublin, where they live at Harcourt Terrace, the pair assists with the inaugural production of Galway‘s Irish language theatre, An Taibhdhearc. The play is Mac Liammóir’s version of the mythical story Diarmuid agus Gráinne, in which Mac Liammóir plays the lead role as Diarmuid.
Mac Liammóir and Edwards then throw themselves into their own venture, co-founding the Gate Theatre in Dublin in 1928. The Gate becomes a showcase for modern plays and design. Mac Liammóir’s set and costume designs are key elements of the Gate’s success. His many notable acting roles include Robert Emmet/The Speaker in Denis Johnston‘s The Old Lady Says “No!” and the title role in Hamlet.
In 1948, Mac Liammóir appears in the NBC television production of Great Catherine with Gertrude Lawrence. In 1951, during a break in the making of Othello, he produces Orson Welles‘s ghost-story Return to Glennascaul which is directed by Hilton Edwards. He plays Iago in Welles’s film version of Othello (1951). The following year, he goes on to play ‘Poor Tom’ in another Welles project, the TV film of King Lear (1953) for CBS.
Mac Liammóir claims when talking to Irish playwright Mary Manning, to have had a homosexual relationship with General Eoin O’Duffy, former Garda Síochána Commissioner and head of the paramilitary Blueshirts in Ireland, during the 1930s. The claim is revealed publicly by RTÉ in a documentary, The Odd Couple, broadcast in 1999. However, Mac Liammóir’s claims have not been substantiated.
Mac Liammóir’s life and artistic development are the subject of a major study by Tom Madden, The Making of an Artist. Edwards and Mac Liammóir are the subject of a biography, titled The Boys by Christopher Fitz-Simon.
Micheál Mac Liammóir dies at his and Edwards’s Dublin home, 4 Harcourt Terrace, at the age of 78 on March 6, 1978. Edwards and Mac Liammóir are buried alongside each other at St. Fintan’s Cemetery, Sutton, Dublin.
Fuller is born on January 1, 1900, in Kilflynn, County Kerry. He is the son of Daniel Fuller and Ellie Quinlan. His family is from Fahavane, in the parish of Kilflynn.
Fuller serves in the Kilflynn Irish Republican Army (IRA) flying column during the Irish War of Independence. He is First Lieutenant in the Kerry No.1 Brigade, 2nd Battalion. He opposes the Anglo-Irish Treaty and continues to fight with the anti-Treaty IRA during the Irish Civil War. Military records from the 1930s show, in his own hand, that he is in communication with Dublin regarding confirmation of membership in July 1922 and therefore eligible for war pensions. He becomes the most senior Kilflynn member upon the death of Captain George O’Shea.
In 1923, Fuller is captured by Free State troops and imprisoned in Ballymullen Barracks in Tralee by the Dublin Guard who had landed in County Kerry shortly before. On March 6, 1923, five Free State soldiers are blown up by a booby-trapped bomb at Baranarigh Wood, Knocknagoshel, north Kerry, including long-standing colleagues of Major General Paddy Daly, GOC Kerry Command. Prisoners receive beatings after the killings and Daly orders that republican prisoners be used to remove mines.
On March 7, nine prisoners from Ballymullen Barracks, six from the jail and three from the workhouse, are chosen with a broad geographical provenance and no well-known connections. They are taken lying down in a lorry to Ballyseedy Cross. There they are secured by the hands and legs and to each other in a circle around a land mine. Fuller is among them. His Kilflynn parish comrade Tim Tuomey is initially stopped from praying until all prisoners are tied up. As he and other prisoners then say their prayers and goodbyes, Fuller continues to watch the retreating Dublin Guard soldiers, an act which he later says saved him. The mine is detonated, and he lands in a ditch, suffering burns and scars. He crosses the River Lee and hides in Ballyseedy woods. He is missed amongst the carnage as disabled survivors are bombed and shot dead with automatic fire. Most collected body parts are distributed between nine coffins that had been prepared. The explosions and gunfire are witnessed by Rita O’Donnell who lives nearby and who sees human remains spread about the next day. Similar reprisal killings by the Dublin Guard follow soon after Ballyseedy.
Fuller crawls away to the friendly home of the Currans nearby. They take him to the home of Charlie Daly the following day. His injuries are treated by a local doctor, Edmond Shanahan, who finds him in a dugout. He moves often in the coming months, including to the Burke and Boyle families, and stays in a dugout that had been prepared at the Herlihys for seven months.
A cover-up begins almost immediately. Paddy Daly’s communication to Dublin about returning the bodies to relatives differs significantly from Cumann na mBan statements, which Daly complains about as simple propaganda, and later that of Bill Bailey, a local who had joined the Dublin Guard, who tells Ernie O’Malley that the bodies were handed over in condemned coffins as a band played jolly music. Fuller is named amongst the dead in newspaper reports before it is realised that he had escaped. Daly then sends a communication to GHQ that Fuller is reported as having become “insane.” The Dublin Guard scours the countryside for Fuller. The official investigation into the killings is presided over by Daly himself, with Major General Eamon Price of GHQ and Colonel J. McGuinness of Kerry Command. It blames Irregulars for planting the explosives and exonerates the Irish Army soldiers, and this is read out in the Dáil by the Minister for Defence, Richard Mulcahy.
Contrary statements to the Irish Army’s submissions are effectively ignored. Lieutenant Niall Harrington of the Dublin Guard, describes the evidence to the court and the findings as “totally untrue,” explaining that the actions were devised and executed by officers of the Dublin Guard. He contacts Kevin O’Higgins, Minister for Justice and Vice-President, a family friend, to deplore the findings. O’Higgins speaks to Richard Mulcahy, who does nothing. In a separate incident, Free State Lieutenant W.McCarthy, who had been in charge of about twenty prisoners, says that five of them had been removed in the night. They were reportedly shot in the legs then blown up by, in his words, “…a Free State mine, laid by themselves.” He resigns in protest. A Garda Síochána report into the events is also dismissed and is not made public for over 80 years.
Fuller leaves the IRA after the Civil War and follows a career as a farmer in Kerry. He joins Fianna Fáil, the political party founded by Republican leader Éamon de Valera in 1926 after a split from Sinn Féin. He is elected to the 9th Dáil on his first attempt, representing Fianna Fáil at the 1937 Irish general election, as the last of three Fianna Fáil TDs to be elected to the four seat Kerry North constituency. He is re-elected to the 10th Dáil at the 1938 Irish general election, when Fianna Fáil again wins three out of four seats, but loses his seat at the 1943 Irish general election to the independent candidate Patrick Finucane. He returns to farming thereafter.
Fuller never once mentions the Ballyseedy incident from a political platform and states later that he bore no ill-will towards his captors or those who were involved in his attempted extrajudicial killing. He does not want the ill feeling passed on to the next generation. He speaks publicly about the events in 1980, a few years before his death, on Robert Kee‘s groundbreaking BBC series Ireland: A Television History.
Fuller dies in Edenburn Nursing Home, Tralee, on February 23, 1984. He is buried near the Republican plot in Kilflynn where colleagues O’Shea, Tuomey and Timothy ‘Aero’ Lyons are buried.
Fuller’s son Paudie establishes the Stephen Fuller Memorial Cup for dogs of all ages, contested annually on the family farm.
Fuller’s fame largely rests on one night at Ballyseedy. To trace him through the rural society from which he and his fellow Volunteers originated and in which his life was spent, however, gives a fuller understanding of the devastating effects of the conflicts of 1916–23 on a tightly knit rural and small-town society, dominated by extended families of farmers and their service-industry relatives, and of how that society remembered and forgot those traumas.
(Pictured: Stephen Fuller’s grave in Kilflynn, by St. Columba’s Heritage Centre)
Rice is born to Johnny Rice and his wife Nell (née Hayes). Her mother can sing, and her father is a master mason. Her mother’s singing brings in extra money after her father is posted overseas during World War II. She goes to Methodist College Belfast and by the age of fourteen is living in the family home with lodgers as her parents are in Africa where her father is working. She is not academic and takes only a passing interest in becoming a secretary. A school friend says that all she wants to do is draw.
The artist Gerard Dillon comes from Belfast. He helps Rice after they are introduced to each other by her piano teacher in 1951. He is friends with the painter George Campbell. They both share “an interest in bohemian characters.” She regards both Dillon and Campbell as her mentors for decades and her work is of a similar surrealistic and primitive style.
In 1956, Rice completes her first solo exhibition at the British Council in Hong Kong. She had been there since 1954 doing typing and practicing her painting. Her father is working there, and she stays in Hong Kong until the following year. When she returns, she earns money working night shifts in the BBC newsroom.
Gerard Dillon and his sister, Mollie, have a property on London‘s Abbey Road in 1958. They rent part of the house to artist Arthur Armstrong, and they rent a flat to Rice and her brother. Dillon and Rice would tour junk yards to find objects like leather and string that they include in their artwork. The house is known for its ex-pat Irish artists which also include Aidan Higgins and Gerry Keenan.
In 1963, Rice goes to the United States to exhibit, and she has to be persuaded to find time to meet President Kennedy. This is three weeks before he is killed in Dallas. In 1967, she is in Paris learning lithography and marries the German contemporary artist Haim Kern. Their child Tristran is born, and the marriage soon ends, and she leaves for Switzerland.
Rice marries again after she returns to Ireland to live in County Fermanagh. They have a daughter who is named Trasna. She exhibits twice in Belfast. In 1997, a large collaboration with Felix Anaut results in images of Adam and Eve which is prepared for a Spanish arts festival near Zaragoza. Another large commission is to decorate the shutters of Pushkin House at Baronscourt for Alexandra Hamilton, Duchess of Abercorn, in 2005.
Rice dies in County Monaghan on March 23, 2015, where she had lived for twenty years. She completes her last exhibition in 2009, over fifty years after her first in Hong Kong. She has exhibited and had her work in notable collections including the United Nations. She is noted for only creating art when she wanted to, she had never conformed, Aeneas Bonner says in her obituary “Normality was a not a close acquaintance.”
After the death of Brendan Doris in 2006, Martin McGuinness pays tribute to the Doris family as “a well-known and respected republican family [who] have played a significant role in the republican struggle for many years.”
O’Neill becomes involved in republican politics in her teens, assisting her father with constituency work in his role as a Dungannon councillor. She joins Sinn Féin after the Good Friday Agreement in 1998, at the age of 21, and starts working as an advisor to Francie Molloy in the Northern Ireland Assembly, holding this role until 2005.
O’Neill automatically relinquishes her office following Paul Givan‘s resignation as first minister on February 3, 2022. Sinn Féin becomes the largest party after the 2022 Northern Ireland Assembly election, putting O’Neill in line to become the First Minister of Northern Ireland, and the Democratic Unionist Party (DUP) leader to become the deputy First Minister of Northern Ireland. However, she remains to be officially sworn in as First Minister because, as part of its opposition to the Northern Ireland Protocol, the DUP has refused to nominate a deputy First minister and there is therefore no functioning executive of Northern Ireland.
In August 2022, O’Neill is asked in a BBC interview whether it was right during the Troubles for the Provisional IRA “to engage in violent resistance to British rule.” She is criticised for her response, “I think at the time there was no alternative, but now thankfully we have an alternative to conflict, and that is the Good Friday Agreement – that is why it’s so precious to us all.”
In May 2023, O’Neill attends the coronation of King Charles, saying, “Well obviously I wanted to be here. We live in changing times, and it was the respectful thing to do, to show respect and to be here for all those people at home, who I had said I would be a first minister for all. Attendance here is about honouring that and fulfilling my promise.”
Cronin is known as an arts activist as well as a writer. He is Cultural Adviser to TaoiseachCharles Haughey and briefly to Garret FitzGerald. He involves himself in initiatives such as Aosdána, the Irish Museum of Modern Art and the Heritage Council. He is a founding member of Aosdána, and is a member of its governing body, the Toscaireacht, for many years. He is elected Saoi, a distinction for exceptional artistic achievement, in 2003. He is also a member of the governing bodies of the Irish Museum of Modern Art and the National Gallery of Ireland, of which he is for a time Acting Chairman.
His first collection of poems, called simply Poems (Cresset Press, London), is published in 1958. Several collections follow and his Collected Poems (New Island Books, Dublin) is published in 2004. The End of the Modern World (New Island Books, 2016), written over several decades, is his final publication.
Cronin’s novel, The Life of Riley, is a satire on Bohemian life in Ireland in the mid-20th century, while his memoir Dead as Doornails addresses the same subject.
Cronin knows Samuel Beckett from when they do some work for the BBC during the 1950s and 1960s. He gives a prefatory talk to Patrick Magee‘s reading of The Unnamable on the BBC Third Programme. Beckett is not impressed, saying, “Cronin delivered his discourse… It was all right, not very exciting.” Cronin later publishes a biography of him, Samuel Beckett: The Last Modernist (1996), followed on from No Laughing Matter: The Life and Times of Flann O’Brien (1989).
In his later years, Cronin suffers from failing health, which prevents him from traveling abroad, thus limiting his dealings to local matters. He dies in Dublin on December 27, 2016, one day short of his 93rd birthday.
Cronin firstly marries Thérèse Campbell, from whom he separates in the mid-1980s. She dies in 1999. They have two daughters, Iseult and Sarah. Iseult is killed in a road accident in Spain. He secondly marries the writer Anne Haverty who, along with daughter Sarah, survives him.
O’Brien is the youngest child of “a strict, religious family.” From 1941 to 1946 she is educated by the Sisters of Mercy, a circumstance that contributes to a “suffocating” childhood. “I rebelled against the coercive and stifling religion into which I was born and bred. It was very frightening and all pervasive. I’m glad it has gone.” She is fond of a nun as she deeply misses her mum and tries to identify the nun with her mother.
In 1950, O’Brien is awarded a licence as a pharmacist. In Ireland, she reads such writers as Leo Tolstoy, William Makepeace Thackeray, and F. Scott Fitzgerald. In 1954, she marries, against her parents’ wishes, the Irish writer Ernest Gébler and the couple moves to London. They have two sons, but the marriage is dissolved in 1964. Gébler dies in 1998.
In London, O’Brien purchases Introducing James Joyce, with an introduction written by T. S. Eliot. When she learns that James Joyce‘s A Portrait of the Artist as a Young Man is autobiographical, it makes her realise where she might turn, should she decide to write herself. In London she starts work as a reader for Hutchinson, where on the basis of her reports she is commissioned, for £50, to write a novel. Her first novel, The Country Girls (1960), is often credited with breaking silence on sexual matters and social issues during a repressive period in Ireland following World War II.
This novel is the first part of a trilogy of novels which includes The Lonely Girl (1962) and Girls in Their Married Bliss (1964). Shortly after their publication, these books are banned and, in some cases burned, in her native country due to their frank portrayals of the sex lives of their characters. Her novel A Pagan Place (1970) is about her repressive childhood. Her parents are vehemently against all things related to literature and her mother strongly disapproves of her daughter’s career as a writer.
O’Brien is a panel member for the first edition of the BBC‘s Question Time in 1979. In 2017, she becomes the sole surviving member.
Other works include a biography of James Joyce, published in 1999, and one of the poet Lord Byron, Byron in Love (2009). House of Splendid Isolation (1994), her novel about a terrorist who goes on the run, marks a new phase in her writing career. Down by the River (1996) concerns an under-age rape victim who seeks an abortion in England, the “Miss X case.” In the Forest (2002) deals with the real-life case of Brendan O’Donnell, who abducts and murders a woman, her three-year-old son, and a priest, in rural Ireland.
Cole starts his career in print journalism in 1945, joining the Belfast Telegraph as a reporter and industrial correspondent. He subsequently works as a political reporter for the paper. He gains a scoop when he interviews the then Prime Minister, Clement Attlee, who is holidaying in Ireland.
Cole joins The Guardian, then The Manchester Guardian, in 1956, reporting on industrial issues. He transfers to the London office in 1957 as the paper’s labour correspondent. Appointed news editor in 1963, succeeding Nesta Roberts, he takes on the task of reorganising the paper’s “amateurish” system for gathering news. He heads opposition to a proposed merger with The Times in the mid-1960s, and later serves as deputy editor under Alastair Hetherington. When Hetherington leaves in 1975, Cole is in the running for the editorship, but fails to secure the post, for reasons which may include his commitment to the cause of unionism in Northern Ireland, as well as what is seen by some as inflexibility and a lack of flair. Unwilling to continue at The Guardian, he then joins The Observer as deputy editor under Donald Trelford, remaining there for six years.
After Tiny Rowland takes over as proprietor of The Observer in 1981, Cole gives evidence against him at the Monopolies Commission. The following day he receives a call from the BBC offering him the job of political editor, succeeding John Simpson. He has little previous television experience but proves a “natural broadcaster.” Reporting through most of the premiership of Margaret Thatcher, he becomes a familiar figure on television and radio.
Cole’s health is put under strain by the workload, and he suffers a heart attack in February 1984. Returning to report on that year’s conference season, he covers the Brighton hotel bombing, getting a “memorable” interview with Thatcher on the pavement in its immediate aftermath, in which she declares that the Tory conference will take place as normal. An astute observer of the political scene, he is one of the earliest to forecast Thatcher’s resignation as Prime Minister in 1990, in what colleague David McKie refers to as “perhaps his greatest exclusive.”
Cole establishes a strong reputation for his “gentle but probing” interviewing style, for his political assessments, and for presenting analysis rather than “bland reporting.” Held in enormous affection by viewers, he is trusted by both politicians and the public. He is known for speaking in the language used by ordinary people rather than so-called Westminster experts. His distinctive Northern Irish accent leads the way for BBC broadcasters with regional accents.
Cole retires as political editor in 1992 at the age of 65, compulsory at the time, but continues to appear on television, including making programmes on golf and travel. He also continues to appear on the BBC programme Westminster Live for several years after he retired as political editor.
In addition to his journalistic writing, Cole authors several books. The earliest are The Poor of the Earth, on developing countries, and The Thatcher Years (1987). After his retirement as BBC political editor, he spends more time writing. His political memoir, As It Seemed to Me, appears in 1995 and becomes a best-seller. He also publishes a novel, A Clouded Peace (2001), set in his birthplace of Belfast in 1977.
In 2007, Cole writes an article for the British Journalism Review, blaming both politicians and the media for the fact that parliamentarians are held in such low esteem, being particularly scathing of Alastair Campbell‘s influence during Tony Blair‘s premiership.
In 1966, the Eisenhower Fellowships selects Cole to represent Great Britain. He receives the Royal Television Society‘s Journalist of the Year award in 1991. After his retirement in 1992, he is awarded an honorary degree from the Open University as Doctor of the University and receives the Richard Dimbleby Award from BAFTA in 1993. He turns down a CBE in 1993, citing the former The Guardian newspaper rule that journalists can only accept gifts which can be consumed within 24 hours.
In his private life Cole is a supporter of the Labour Party and is a believer in the trades union movement. He considers that the combating of unemployment is one of the most important political issues. He is a British Republican and a committed Christian, associating in the latter part of his life with the United Reformed Church at Kingston upon Thames.
Cole suffers health problems in retirement including heart problems and two minor strokes. In 2009, he is diagnosed with cancer. He subsequently develops aphasia. He dies at his home at Claygate in the county of Surrey on November 7, 2013.
Tributes are paid by journalists, broadcasters and politicians across the political spectrum. Prime Minister David Cameron calls Cole a “titan at the BBC” and an “extraordinary broadcaster.” Labour Party leader Ed Miliband says that “my generation grew up watching John Cole. He conveyed the drama and importance of politics.” The Scottish First MinisterAlex Salmond says that Cole is “an extremely able journalist but also extraordinarily helpful and generous to a young politician.” The BBC’s political editor at the time, Nick Robinson, writes that Cole “shaped the way all in my trade do our jobs.”
Shiels is born on June 24, 1881, in Milltown, Ballybrakes, near Ballymoney, County Antrim, one of seven sons of Robert Shiels, a railway worker, and Eliza Shiels (née Sweeney), who also has one daughter. The family soon moves to Castle Street, Ballymoney, where he attends the local Roman Catholicnational school. His elder brothers emigrate to the United States when young. With there being no chance of further schooling even if he wanted it, he leaves Ireland when he is 19 years old. He works as a casual labourer in many places in western North America: as a farmworker and miner in Idaho and Montana, and as a lumber camp worker in British Columbia, Canada. In 1904 he is employed by the Canadian Pacific Railway to supervise a gang of workers who are building a stretch of railway in Saskatchewan. In a serious accident, he is badly injured. Despite surgery on his back, he is never able to walk again, and he receives a disability pension from the railway company.
After a long convalescence in Canada, Shiels returns to his mother’s house in Ballymoney around 1908. He sets up in business in Main Street as a shipping agent and as an agent for the Canadian Pacific Railway, taking bookings from intending emigrants. He is encouraged by his parish priest, Fr. John Hasson, by a local solicitor, Jack Pinkerton, and by James Pettigrew, a teacher, to write short stories. To try to preserve anonymity in a small community, he at first uses the pseudonym “George Morshiel,” and is successful with Western stories and other short fiction. His friends urge him to try writing dramas, and in 1918 Away from the Moss is produced by the Ulster Literary Theatre in Belfast.
After further success there with two short plays in which Shiels is learning his craft, the Abbey Theatre in Dublin accepts a one-act play, Bedmates, which is performed in January 1921. With great regularity for the next twenty years, he writes twenty-two plays for the Abbey Theatre. His work forms the basis of the repertoire in the 1920s and 1930s and attracts large audiences. Plays such as The New Gossoon (1930) provide Dublin theatregoers with entertainment, but also help form the style of acting and production which for many years characterises the Abbey and its actors. Three of his plays, Paul Twyning (1922), Professor Tim (1925) and The New Gossoon, are later performed in theatres in London and are also published in a 1945 volume, which is twice reprinted. Professor Tim, produced by the touring Abbey Theatre, receives enthusiastic reviews in Philadelphia, and The New Gossoon appears successfully on Broadway in New York City in 1932, 1934, and 1937.
Shiels’s earlier work is perhaps easiest for audiences to enjoy. Comedies such as Moodie in Manitoba (1918) portray characters so realistic that north Antrim people believe with some alarm that it might be possible to identify who Shiels had in mind when he created them, and he is at first somewhat less than popular in Ballymoney. He superbly reproduces local language and thoroughly understands the local way of life. Plays he writes late in his career are first performed by the Group Theatre in Belfast, and in these productions (and in the radio versions broadcast by the BBC) his work becomes widely known, almost beloved, in the north of Ireland. During the first half of the twentieth century amateur drama groups throughout Ireland are much more important in local life than they have been since the advent of television. Probably all such societies have at some time staged a Shiels play, and this tradition continues. His plays contain amusing dialogue, carefully crafted plots, and usually more or less happy endings.
However, Shiels’s later works, notably The Passing Day (1936), first broadcast as a radio play, and The Rugged Path (1940), which breaks all records at the Abbey Theatre in a run of three months, tackle darker subject matter and feature characters still less sympathetic even than the rogues and hypocrites of the earlier work. In The Rugged Path and its sequel, The Summit (1941), he explores the moral crisis facing Ireland after the political changes of the 1920s. One critic sees in it an allegory for the contemporary struggle against Adolf Hitler. His view of life in the small towns and farms of Ireland is never in the slightest rosy-tinted, but in the symbolism of The Passing Day, he achieves “bitter intensity” (The Irish Times review, quoted by Casey).
Shiels’s modesty leads him to refuse an honorary doctorate from Queen’s University Belfast (QUB), in 1931. He is reticent about his experiences and beliefs and does little to foster his own reputation. In one early interview he expresses the belief that Ulster theatre needs dramatic material that reflects the psychology and setting of the region. His own work, at its best, achieves this and more. The very qualities which make his work popular in the north of Ireland permit some metropolitan literary critics to dismiss his plays as “kitchen comedies.” However, with the passage of time, his importance as a chronicler of a vanishing way of life can be set alongside the recognition due to him as a prolific and gifted dramatist.
Shiels suffers from a lengthy illness, and though he undergoes an operation in Ballymoney in 1949, dies soon afterwards at his house, New Lodge, in Carnlough, County Antrim, on September 19, 1949. He is buried in the graveyard of Our Lady and St. Patrick in Ballymoney. In the month that he dies, the Group Theatre and Garvagh Young Farmers’ Club are both rehearsing Shiels plays, and there have since been many productions of his plays in the north and elsewhere. Ballymoney Drama Festival presents a portrait of Shiels to the Abbey Theatre, and a new production of The Passing Day is staged there to celebrate his centenary in 1981.
seamus dubhghaill 