Deane is born on December 2, 1879, in New Ross, County Wexford, and grows up in Clontarf, a suburb of Dublin. His family lives close to the families of both Bram Stoker and his wife, Florence Balcombe, and his mother had been acquainted with Bram Stoker in her youth.
Deane enters the theater as a young man, first appearing in 1899 with the Henry Irving Company, of which Stoker is stage manager for many years. Even before he forms his own troupe in the early 1920s, he has been thinking about bringing Dracula to the stage. Stoker had attempted this in 1897 but the verdict from Irving consigned it to the waste-paper basket. Unable to find a scriptwriter to take on the project, Deane writes the play himself in a four-week period of inactivity while he is suffering with a severe cold. He then contacts Florence Stoker, Bram’s widow, and negotiates a deal for the dramatic rights.
To stage the production, Deane is required to submit the completed script to the Lord Chamberlain for a license under the Theatres Act 1843. The play is censored to limit violence – for example, the count’s death cannot be shown to the audience – but is approved on May 15, 1924.
Deane re-imagines Count Dracula as a more urbane and theatrically acceptable character who could plausibly enter London society. It is Deane’s idea that the count should wear a tuxedo and stand-up collar, and a flowing cape which conceals Dracula while he slips through a trap-door in the stage floor, giving the impression that he has disappeared. He also arranges to have a uniformed nurse available at performances, ready to administer smelling salts should anyone faint.
Deane’s play premieres on August 5, 1924, at the Grand Theatre in Derby, England. Despite critics’ misgivings, the audiences love it. Although he originally intended to play the title role himself, Raymond Huntley plays the role of the Count and Deane fills the role of Van Helsing. It is a huge success and the production tours England for three years before settling in London, where it opens at the Little Theatre in the Adelphi on February 14, 1927. It later transfers to the Duke of York’s Theatre and then the Prince of Wales Theatre to accommodate larger audiences.
When the play crosses the Atlantic in 1927, the role of Dracula is taken by the then-unknown Hungarian-American actor Bela Lugosi. For its United States debut, Dracula is rewritten by the American playwright John L. Balderston. The show runs for a year on Broadway and for two more years on tour, breaking all previous records for any show put on tour in the United States. It is the Deane/Balderston interpretation upon which the classic Tod Browning film Dracula (1931) is based.
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.
Richards is born to John William Richards, a lawyer, and Adelaide Roper, suffragist who had chained herself to the railings in St. Stephen’s Green. She goes to school at Alexandra College, Dublin, and after that she attends a finishing school in Paris. Though her family is not in the arts, her godmother is Beatrice Elvery. Shes attends Elvery’s salons with her parents as a child. She meets W. B. Yeats when she is sixteen. Her niece, Geraldine Fitzgerald, daughter of her sister, Edith Catherine Richards, is also one of Ireland’s pre-eminent actresses.
Richards’s acting career starts while attending the Dublin drama league and she is asked at short notice to replace Eileen Crowe in Juno and the Paycock, playing the role of Mary Boyle in the Abbey Theatre production. Richards gets the role of Nora Clithero in the 1926 production of The Plough and the Stars, Seán O’Casey‘s next production. This role means that she ends up with police protection for the duration of the run due to the disturbances the play engenders. Another important role is to take on playing the lead in The Player Queen by Yeats. Maire O’Neill had previously made the role her own and Yeats had let no one perform the part since then so taking on such a challenge is intimidating. Richards continues to take on leading roles with the Abbey Theatre but in 1926 she also begins to direct.
On December 28, 1928, Richards marries playwright Denis Johnston in St. Anne’s Church in Dublin. She tours the United States with the Abbey players in 1932 and with the Irish Players in the mid 1930s. A role in 1938 in Molly Keane‘s Spring Meeting starring Gladys Cooper and A. E. Matthews takes her to Broadway in New York City. War in Europe breaks out while the run is still going on and Richards is advised to stay in the United States. However, by then she has two children, producer Micheal and novelist Jennifer Johnston, so she returns to Dublin. There she runs her own theater company at the Olympia Theatre with Nigel Heseltine. Her marriage to Johnston, broken in 1938, ends with divorce in February 1945.
In 1961 Ireland launches its first television service, Raidió Teilifís Éireann. Richards is one of the first producers, recommended to the station by Hilton Edwards. She is one of the few women in the new station. The first Irish play produced during the opening week is directed by her and she is nominated for a Best Actress award in another production, Inquiry at Lisieux. She works as producer on a wide number of programs for the station including documentaries, soap operas and religious programming. Both Tolka Row and The Riordans are produced by her as well as Denis Johnston’s The Moon on the Yellow River, George Bernard Shaw‘s Arms and the Man and John Millington Synge‘s Riders to the Sea.
Richards retires from her RTÉ career in the early 1970s though she continues to raise funds for the Gate Theatre through the Edwards–MacLiammóir Playhouse Society. In 1983, for her 80th birthday, the Abbey puts on a party for her which includes a special rendition of “Nora” from The Plough and the Stars. Richards is the last living member of the original 1926 cast. The song is repeated at her funeral in 1985. She died in Ballybrack, County Dublin, on January 19, 1985. Her funeral is held in St. Anne’s Church in Dublin and she is cremated in Glasnevin Cemetery.
Norton is educated at Synge Street CBS. From an early age he wants to be an actor, and regularly attends performances at the Abbey Theatre. His mother, Frances, plays the violin and his father, Eugene, is a baritone singer and works as a bakery manager. He has one sibling, the late acting teacher Betty Ann Norton.
Norton has been acting for over forty years in theatre, television, and film, and frequently plays clergymen, most notably Bishop Brennan in the sitcom Father Ted, as well as roles in The Sweeney (1975), Peak Practice (1993), Sunset Heights (1997), A Love Divided (1999), Rebus: Black and Blue (2000), Mad About Mambo (2000), Boxed (2003) and Jimmy’s Hall (2014). He stars as Finian McLonergan in the critically acclaimed New York City Center‘s 2009 production of Finian’s Rainbow, and in October 2009 reprises the role in the Broadway revival at the St. James Theatre. His co-stars are Cheyenne Jackson (Woody) and Kate Baldwin (Sharon).
As well as Bishop Brennan in Father Ted, Norton also plays Albert Einstein in two episodes of Star Trek: The Next Generation (namely “The Nth Degree” and “Descent“); the librarian Lieutenant James Porteous in the highly acclaimed 1970s British television drama series Colditz; Phil Harrister, a criminal involved in an intricate bank robbery, in The Sweeney episode “Contact Breaker”; O’Brady in the Minder episode “National Pelmet“; and Rory, a roguish but genteel Irishman who is diagnosed with cirrhosis of the liver, in The Royal episode “Beggars and Choosers.”
Norton makee his film debut with a small role in the 1965 thriller The Face of Fu Manchu starring Christopher Lee, and later appears in the 1969 epic film Alfred the Great as Thanet. He plays the part of Pongo in the screen version of Spike Milligan‘s war-time memoir Adolf Hitler: My Part in his Downfall. In 1971 he plays Chris Cawsey (aka “The Rat Man”), one of several villains in the controversial Sam Peckinpah film Straw Dogs starring Dustin Hoffman. His character has a deviously infectious, deliberately irritating laugh that helps build tension throughout the film.
In 2011 Norton appears as the character Old Mr. Black in the film Extremely Loud & Incredibly Close directed by Stephen Daldry. He appears in the 2011 film Water for Elephants, in which he portrays a circus worker called “Camel” who befriends a character played by Robert Pattinson. In 2012 he appears as the character Tommy in the short film Homemade written by Matthew Roche and directed by Luke McManus. He is in the Ken Loach film Jimmy’s Hall which is released in 2014. He plays the role of Mr. Heelshire in the 2016 film The Boy. In 2018 he plays the role of Mr. Binnacle in Mary Poppins Returns.
Norton has a longtime partnership with playwright Conor McPherson, having originated roles in six of his plays in Dublin, London and New York, and for which he has won both the Tony and Olivier Award. Norton plays Jack in The Weir (1997), Joe in Port Authority (2001), Matthew in Come On Over (2001), Richard in The Seafarer (2006–7), Reverend Berkeley in The Veil (2011), and Maurice in The Night Alive (2013).
McPherson is educated at University College Dublin and begins writing his first plays there as a member of UCD Dramsoc, the college’s dramatic society, and goes on to found Fly by Night Theatre Company which produces several of his plays. He is considered one of the best contemporary Irish playwrights. His plays attract good reviews and have been performed internationally (notably in the West End and on Broadway).
McPherson also directs his play, Dublin Carol, at the Atlantic Theater Company, New York, in 2003.
McPherson’s 2004 play Shining City opens at the Royal Court Theatre and prompts The Daily Telegraph to describe him as “the finest dramatist of his generation.” A meditation on regret, guilt and confusion, the play is set entirely within the Dublin offices of a psychiatrist who himself has psychological secrets. While much of the play takes the form of monologues delivered by a patient, the everyday stories and subtle poignancy and humour make it a riveting experience. It subsequently opens on Broadway in 2006 and is nominated for two Tony Awards, including Best Play.
In September 2006, to great critical acclaim, McPherson makes his Royal National Theatre debut as both author and director with The Seafarer at the Cottesloe Theatre, starring Karl Johnson and Jim Norton, with Ron Cook as their poker-playing, Mephistophelean guest. Norton wins an Olivier Award for his performance while McPherson is nominated for both the Olivier and Evening Standard Theatre Awards for Best Play. In October 2007 The Seafarer opens on Broadway, keeping with it most of its creative team, including McPherson as director and both Jim Norton and Conleth Hill in their respective roles, with David Morse taking over as Sharky, and Ciarán Hinds portraying Mr. Lockhart. The production on Broadway receives some positive reviews including such statements as “McPherson is quite possibly the finest playwright of his generation” from Ben Brantley at The New York Times and “Succinct, startling and eerie, and the funniest McPherson play to date” from The Observer. Norton’s performance as Richard Harkin in The Seafarer at the National Theatre wins the 2007 Best Supporting Actor Laurence Olivier Award, and he wins a Tony Award in 2008 for Best Featured Actor in a play.
McPherson writes and directs a stage adaptation of Daphne du Maurier‘s story The Birds, which opens in September 2009 at the Gate Theatre in Dublin.
In 2011 the Royal National Theatre premiers his play The Veil at the Lyttleton Theatre. Described by The Times as “a cracking fireside tale of haunting and decay,” it is set in 1822 and marks McPherson’s first foray into period drama. This vein continues with a striking new translation of August Strindberg‘s The Dance of Death premiering at the Trafalgar Studios in London at the end of 2012. His version is described as “a profoundly seminal work” by The Guardian which also managed, The Times says, to be “shockingly funny.”
The Donmar Warehouse mounts a season of McPherson’s work in 2013 with a revival of The Weir and the world premiere of The Night Alive. The Weir is hailed once again as “a modern classic” by The Daily Telegraph and “a contemporary classic” by The Guardian while The Night Alive is nominated for the Laurence Olivier Award for Best Play and described as “another triumph” by The Independent on Sunday and “a masterstroke” by Time Out.
McPherson’s play Girl from the North Country, where the dramatic action is broken up by 20 songs by Bob Dylan, opens at London’s The Old Vic on July 26, 2017. The play is set in a hotel in 1934 in Duluth, Minnesota, the birthplace of Dylan. The project begins when Dylan’s office approaches McPherson and suggests creating a play using Dylan songs. The drama receives favorable reviews.
The film of his first screenplay, I Went Down, is critically acclaimed and a great commercial success. His first feature film as a director, Saltwater, wins the CICAE award for Best Film at the Berlin International Film Festival. His second feature film is The Actors, which he wrote and directed.
He is the director and co-writer of The Eclipse, a film which has its world premiere at the 2009 Tribeca Film Festival. It is picked up for distribution by Magnolia Pictures and is released in U.S. cinemas in the spring of 2010. The film subsequently wins the Melies D’Argent Award for Best European Film at the Sitges Film Festival in Spain, the world’s premier horror and fantasy genre festival. At The 2010 Irish Film and television AwardsThe Eclipse wins the awards for Best Film and Best Screenplay. Ciarán Hinds wins the Best Actor Award at the Tribeca Film Festival for his portrayal of Michael Farr.
In 2013, McPherson writes the last episode of Quirke. In 2020, he co-writes the feature film adaptation of the Artemis Fowl books by Eoin Colfer. In response to the COVID-19 pandemic, it is released digitally worldwide on Disney+ on June 12, 2020.
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.
Brady leaves little record of his life before photography. Speaking to the press in the last years of his life, he states that he was born between 1822 and 1824 in Warren County, New York, near Lake George. He is the youngest of three children to Irish immigrant parents, Andrew and Samantha Julia Brady. In official documents before and during the war, however, he claims to have been born in Ireland.
At age 16, Brady moves to Saratoga, New York, where he meets portrait painter William Page and becomes Page’s student. In 1839, the two travel to Albany, New York, and then to New York City, where he continues to study painting with Page, and also with Page’s former teacher, Samuel F. B. Morse. Morse had met Louis-Jacques-Mandé Daguerre in France in 1839 and returned to the United States to enthusiastically push the new daguerreotype invention of capturing images. At first, Brady’s involvement was limited to manufacturing leather cases that hold daguerreotypes. But soon he becomes the center of the New York artistic colony that wishes to study photography. Morse opens a studio and offers classes. Brady is one of the first students.
In 1844, Brady opens his own photography studio at the corner of Broadway and Fulton Street in New York, and by 1845, he begins to exhibit his portraits of famous Americans, including the likes of Senator Daniel Webster and poet Edgar Allan Poe. In 1849, he opens a studio at 625 Pennsylvania Avenue in Washington, D.C., where he meets Juliet Handy, whom he marries in 1850 and lives with on Staten Island. His early images are daguerreotypes, and he wins many awards for his work. In the 1850s ambrotype photography becomes popular, which gives way to the albumen print, a paper photograph produced from large glass negatives most commonly used in American Civil War photography.
In 1850, Brady produces The Gallery of Illustrious Americans, a portrait collection of prominent contemporary figures. The album, which features noteworthy images including the elderly Andrew Jackson at the Hermitage, is not financially rewarding but invites increased attention to his work and artistry. In 1854, Parisian photographer André-Adolphe-Eugène Disdéri popularizes the carte de visite and these small pictures rapidly become a popular novelty, with thousands being created and sold in the United States and Europe.
At first, the effect of the American Civil War on Brady’s business is a brisk increase in sales of cartes de visite to departing soldiers. He readily markets to parents the idea of capturing their young soldiers’ images before they might be lost to war by running an ad in The New York Daily Tribune. However, he is soon taken with the idea of documenting the war itself. He first applies to an old friend, General Winfield Scott, for permission to have his photographers travel to the battle sites, and eventually, he makes his application to President Abraham Lincoln himself. Lincoln grants permission in 1861, with the proviso that Brady finances the project himself.
His efforts to document the American Civil War on a grand scale by bringing his photographic studio onto the battlefields earns Brady his place in history. His first popular photographs of the conflict are at the First Battle of Bull Run, in which he gets so close to the action that he barely avoids capture. While most of the time the battle has ceased before pictures are taken, he comes under direct fire at the First Battle of Bull Run, Petersburg, and Fredericksburg.
Brady also employs Alexander Gardner, James Gardner, Timothy H. O’Sullivan, William Pywell, George N. Barnard, Thomas C. Roche, and seventeen other men, each of whom is given a traveling darkroom, to go out and photograph scenes from the American Civil War. He generally stays in Washington, D.C., organizing his assistants and rarely visiting battlefields personally.
This may be due, at least in part, to the fact that Brady’s eyesight has begun to deteriorate in the 1850s. Many of the images in Brady’s collection are, in reality, thought to be the work of his assistants. He is criticized for failing to document the work, though it is unclear whether it is intentional or due simply to a lack of inclination to document the photographer of a specific image. Because so much of his photography is missing information, it is difficult to know not only who took the picture, but also exactly when or where it was taken.
In October 1862 Brady opens an exhibition of photographs from the Battle of Antietam in his New York gallery, titled The Dead of Antietam. Many images in this presentation are graphic photographs of corpses, a presentation new to America. This is the first time that many Americans see the realities of war in photographs, as distinct from previous “artists’ impressions.”
Brady, through his many paid assistants, takes thousands of photos of American Civil War scenes. Much of the popular understanding of the Civil War comes from these photos. There are thousands of photos in the U.S. National Archives and Records Administration and the Library of Congress taken by him and his associates. The photographs include Lincoln, Ulysses S. Grant, and soldiers in camps and battlefields. The images provide a pictorial cross reference of American Civil War history. He is not able to photograph actual battle scenes, as the photographic equipment in the day is still in the infancy of its technical development and requires that a subject be still for a clear photo to be produced.
Following the conflict, a war-weary public loses interest in seeing photos of the war, and Brady’s popularity and practice decline drastically.
During the war, Brady spends over $100,000 (equivalent to $1,691,000 in 2020) to create over 10,000 plates. He expects the U.S. government to buy the photographs when the war ends. When the government refuses to do so he is forced to sell his New York City studio and go into bankruptcy. The United States Congress grants Brady $25,000 in 1875, but he remains deeply in debt. The public was unwilling to dwell on the gruesomeness of the war after it has ended, and so private collectors are scarce.
Depressed by his financial situation and loss of eyesight and devastated by the death of his wife in 1887, Brady dies penniless in the charity ward of Presbyterian Hospital in New York City on January 15, 1896, from complications following a streetcar accident. His funeral is financed by veterans of the 7th New York Infantry Regiment. He is buried in the Congressional Cemetery, which is located in Barney Circle, a neighborhood in the Southeast quadrant of Washington, D.C.
Brady photographs 18 of the 19 American presidents from John Quincy Adams to William McKinley. The exception is the 9th President, William Henry Harrison, who dies in office three years before Brady starts his photographic collection. He photographs Abraham Lincoln on many occasions. His Lincoln photographs have been used for the $5 bill and the Lincoln penny. One of his Lincoln photos is used by the National Bank Note Company as a model for the engraving on the 90c Lincoln Postage issue of 1869.
(Pictured: “Mathew B. Brady,” oil on canvas by Charles Loring Elliott, 1857, Metropolitan Museum of Art, New York)
Thomas Joseph Clancy, a member of the Irish folk group the Clancy Brothers, dies in Cork, County Cork, on November 7, 1990. He has the most powerful voice of the brothers and has previously been an actor in numerous stage productions, appearing with Orson Welles in King Lear. He also performs often on television and occasionally in the movies.
Discharged from the RAF at the end of the war, Clancy tours with a British repertory company. In 1947 he and his brother Paddy emigrate to Canada. They then move to New York where he meets his first wife and his oldest daughter is born in 1950. They then soon move to Cleveland, Ohio, to live with relatives. He works for a while as a repertory actor at the Cleveland Play House, before returning temporarily to Ireland. While in Ireland, Clancy works for the Shakespeareana Internationale company run by English actor and manager Geoffrey Kendal. After Paddy sends him extra money, he returns to the United States. The brothers plan to move to California, but their car breaks down. They decide to try New York City instead and find work as actors, both on and off Broadway.
In 1956 their brother Liam Clancy joins them, accompanied by his friend Tommy Makem. Liam and Tommy begin singing together, and in 1959 are joined by the older Clancy brothers as The Clancy Brothers and Tommy Makem. The group performs together until Liam leaves in 1976. Makem had left in 1969 to be replaced for a brief time by Bobby Clancy and later Louis Killen.
Clancy continues singing with The Clancy Brothers until 1976, when the group is disbanded. The group reforms in 1977 with a new line-up. Clancy performs with his brothers Paddy and Bobby and their nephew Robbie O’Connell until his death. He also performs with Paddy, Liam, and Tommy Makem during their reunion tour from 1984 to 1985.
After an absence of fifteen years, Clancy returns to Broadway in May 1974 in Eugene O’Neill‘s A Moon for the Misbegotten. The Irish Times reviews his performance of Phil Hogan: “In ‘Moon’ he deftly measures up to the formidable company in which he finds himself – a wily, sly rogue with a whimsical humour and a genuine concern for his daughter.” The play is a hit and wins three Tony Awards.
Clancy dies from stomach cancer at the age of 66 on November 7, 1990 at Mercy University Hospital in Cork, County Cork. He is survived by his wife Joan and their three daughters, Rayleen, Blawneen and Rosie. Prior to his marriage to Joan, he has children, Eileen and Thomas, with Yvonne Marcus, in Cleveland, Ohio. He also has a daughter, Cait, with his second wife Laine, in the mid-1950s.
Clancy’s last recording is made in 1988 with Robbie O’Connell, Bobby Clancy, and Paddy Clancy at Saint Anselm College in Goffstown, New Hampshire. Unfortunately, the recording is marred by unevenly mixed instruments and voices. After his death, Liam returns to the Clancy Brothers to fill in his place.
Peck is born in La Jolla, California on April 5, 1916, to Bernice Mary (Ayres) and Gregory Pearl Peck, a chemist and pharmacist in San Diego. Through his Irish-born paternal grandmother, Catherine Ashe, Peck is related to Thomas Ashe, who takes part in the Easter Rising fewer than three weeks after Peck’s birth and dies while on hunger strike in 1917.
Peck’s parents divorce when he is five years old. An only child, he is sent to live with his grandmother. He never feels as though he has a stable childhood. His fondest memories are of his grandmother taking him to the movies every week and of his dog, which follows him everywhere.
At the age of ten Peck is sent to a Catholic military school, St. John’s Military Academy in Los Angeles. While he is a student there, his grandmother dies. At 14, he moves back to San Diego to live with his father and attends San Diego High School. After graduating he enrolls for one year at San Diego State Teacher’s College (now known as San Diego State University).
With a string of hits to his credit, Peck makes the decision to only work in films that interest him. He continues to appear as the heroic, larger-than-life figures in such films as Captain Horatio Hornblower R.N. (1951) and Moby Dick (1956). He works with Audrey Hepburn in her debut film, Roman Holiday (1953).
Peck finally wins the Oscar, after four nominations, for his performance as lawyer Atticus Finch in To Kill a Mockingbird (1962). In the early 1960s, he appears in two darker films than he usually makes, Cape Fear (1962) and Captain Newman, M.D. (1963), which deal with the way people live. He also gives a powerful performance as Captain Keith Mallory in The Guns of Navarone (1961), one of the biggest box-office hits of that year.
In the early 1970s, Peck produces two films, The Trial of the Catonsville Nine (1972) and The Dove (1974), when his film career stalled. He makes a comeback playing, somewhat woodenly, Robert Thorn in the horror film The Omen (1976). After that, he returns to the bigger-than-life roles he is best known for, such as MacArthur (1977) and the monstrous Nazi Dr. Josef Mengele in the huge hit The Boys from Brazil (1978). In the 1980s, he moves into television with the miniseriesThe Blue and the Gray (1982) and The Scarlet and the Black (1983). In 1991, he appears in the remake of his 1962 film, playing a different role, in Martin Scorsese‘s Cape Fear (1991). He is also cast as the progressive-thinking owner of a wire and cable business in Other People’s Money (1991).
In 1967, Peck receives the Academy’s Jean Hersholt Humanitarian Award. He has also been awarded the Presidential Medal of Freedom. Always politically progressive, he is active in such causes as anti-war protests, workers’ rights and civil rights. In 2003, Peck’s portrayal of Atticus Finch is named the greatest film hero of the past 100 years by the American Film Institute.
Peck dies in his sleep at his home in Los Angeles, California from bronchopneumonia at the age of 87 on June 12, 2003. He is entombed in the Cathedral of Our Lady of the Angels mausoleum in Los Angeles. His eulogy is read by Brock Peters, whose character, Tom Robinson, was defended by Peck’s Atticus Finch in To Kill a Mockingbird.
O’Shea is discovered in the 1950s by Harry Dillon, who runs the 37 Theatre Club on the top floor of his shop, the Swiss Gem Company, 51 Lower O’Connell Street, Dublin. Early in his career he tours with the theatrical company of Anew McMaster.
O’Shea begins acting on the stage, then moves into film in the 1960s. He becomes popular in the United Kingdom, as a result of starring in the BBC sitcom Me Mammy alongside Yootha Joyce. In 1967–68 he appears in the drama Staircase, co-starring Eli Wallach and directed by Barry Morse, which stands as Broadway‘s first depiction of homosexual men in a serious light. For his role in that drama, he is nominated for the Tony Award for Best Actor in a Play in 1968.
Other stage appearances include Mass Appeal (1981) in which he originates the role of Father Tim Farley, for which he is nominated for the Tony Award for Best Actor in a Play in 1982, the musical Dear World in which he plays the Sewer Man opposite Angela Lansbury as Countess Aurelia, Corpse! (1986) and a 1994 Broadway revival of Philadelphia, Here I Come!.
O’Shea’s first wife is Maureen Toal, an Irish actress, with whom he has two sons, Colm and Steven. They divorce in 1974. His second wife is Irish actress Kitty Sullivan, whom he meets in Italy, where he is filming Barbarella and she is auditioning for Man of La Mancha. The couple occasionally act together, such as in a 1981 Broadway revival of My Fair Lady. O’Shea and Sullivan have no children together. They both adopt United States citizenship and reside in New York City, where they both live from 1976.
O’Shea dies on April 2, 2013, in New York City following a short illness at the age of 86. He is buried at Deans Grange Cemetery.
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