Dowling is born in Kimmage, Dublin, on September 7, 1929, the sixth of four sons and three daughters of William Dowling, a ship’s captain, and his wife Mary (née Kelly). His father is violent toward the family and leaves when he is a toddler. Helped by money provided by a priest, the Dowlings move in 1934 from the basement of his maternal uncle’s flat in Merrion Square, Dublin, to a house in Mount Merrion, County Dublin. In 1942, financial necessity forces the family’s move to a smaller residence in Marlborough Road, Donnybrook, Dublin.
Dowling is educated at St. Mary’s College in Rathmines, Dublin, having previously attended KilmacudNational School and CBS Dún Laoghaire, both in County Dublin. He is a bright student, but with his fees in arrears, the dean of studies induces him to leave school early in September 1945 for a clerkship with the Standard Life Assurance Company. A few years later, he finds his vocation when he accompanies a girlfriend to the academy of acting run by Brendan Smith. He signs up in 1948 for a two-year course during which he performs in and stage-manages academy plays and stage-manages for Smith’s professional company. Upon quitting Standard Life in June 1950, he spends a year touring Ireland with Smith’s company, both as an actor and the touring group’s manager.
Dowling comes to prominence in the 1950s for his role as Christy Kennedy in the long-running radio soap opera, The Kennedys of Castleross, and as a member of the Abbey Theatre company. He returns to the Abbey as artistic director from 1987 to 1990.
Following two months in the United States in 1969 lecturing and directing at Loyola University Chicago, he spends periods during 1972–74 directing for the Missouri Repertory Theatre and lecturing and directing at the University of Missouri – Kansas City. On extended leave from the Abbey, he directs in various American theatres throughout 1975, the year he married Olwen O’Herlihy, daughter of the Irish actor Dan O’Herlihy. After his request for six months leave each year is refused, he quits the Abbey in 1976, having done over a hundred major roles for the company.
Dowling marries actress Brenda Doyle in 1952. They have four daughters, including actress Bairbre Dowling, before divorcing in 1975. In 1975, he marries Olwen O’Herlihy, with whom he has a son.
Politician Richard Boyd Barrett is the biological son of Dowling and recording artist and actress Sinéad Cusack from a 1966 relationship while both are at the Abbey Theatre. Boyd Barrett is adopted as an infant. Dowling contacts Boyd Barrett after his connection with Cusack is publicly revealed in 2007. Their relationship is made known after his death.
Dowling dies on May 10, 2013, in Massachusetts General Hospital due to complications arising from surgery. Following a funeral service at the First Congregational Church of Chester, his remains are interred in the nearby cemetery.
Dowling receives honorary doctorates from Westfield State University in Massachusetts, and from Kent State University, John Carroll University and the College of Wooster, all in Ohio. His papers, from 1976 onward, are housed at the Kent State University and John Carroll University libraries.
Shane O’Neill had, in the previous 20 years, eliminated his rivals within the O’Neills and asserted his authority over neighbouring clans (or “septs“) the MacDonnells of Antrim in battle and O’Donnells by kidnapping the O’Donnell leader Calvagh, in Donegal. In 1566, the English Lord Deputy of Ireland, Henry Sidney, gives support to the O’Donnells by ransoming the long tortured Calvagh O’Donnell, against O’Neill who is regarded as a destabilising and anti-English power in the north of Ireland. O’Neill forces out these English troops, but the new O’Donnell chieftain, Hugh O’Donnell, who takes over after the long tortured Calvagh dies, takes the opportunity to assert his independence and raids O’Neill’s lands at Strabane. In response, O’Neill musters his armed forces and marches into O’Donnell territory.
O’Neill crosses into Tir Connell (O’Donnell territory) the traditional way by crossing the River Swilly at an Fearsaid mhór (known as Porterfields today), about 3 km (2 miles) east of the modern town of Letterkenny. O’Donnell has advance warning of this impending incursion so has prepared for the forthcoming attack by dispatching messengers to all his people. Both sides are not equal in size. O’Neills army is estimated at 2,000 men and are composed of cavalry (Nobility), Gallowglass, kearn and a small body of English soldiers who have deserted to him to provide modern weapon skills to his host. O’Donnell’s initial force is only about 40-foot and 80 horse (his personal guard).
O’Donnell’s horsemen harass O’Neill’s men immediately after his fording of the river, leaving O’Donnell a short breathing space to locate his small force in a more defensible position, at Magherennan (near today’s entrance to the Letterkenny Rugby club). When their lord is in position the O’Donnell cavalry withdraws and there O’Donnell awaits his reinforcements. While his opponent waits, O’Neill sets up his camp in Cluain Aire beside the river to cover the ford. When O’Donnell’s troops finally arrive, they number 400 Gallowglass from all the MacSweeney septs. With this virtual parity in the usually decisive heavy infantry, the O’Donnell host proceeds to advance on O’Neill’s camp. When first perceiving their attack, Shane says, “It is very wonderful and amazing to me that those people should not find it easier to make full concessions to us, and submit to our awards, than thus come forward to us to be immediately slaughtered and destroyed.”
This statement, made just as the armies meet, is possibly a late attempt to put heart into his own surprised army. Significantly, the main O’Donnell war host has employed rising ground to successfully cover their advance until it is far too late for O’Neill to deploy his own Gallowglass spars into proper line of battle to hold the enemy while the O’Neill horse mount up. The O’Neill army are caught utterly unprepared, in much the same way as O’Neill himself had taken a MacDonnell host by surprise at Glentaisie in 1565. Despite the element of surprise and O’Neill’s lack of manoeuvre room, the resistance of the surprised O’Neill Gallowglass in this encounter battle is at first successful for the Four Masters state that the action lasted “for a long time.” Eventually, with their loose protective screen of Gallowglass cut down, a panicked rout of Shane’s force ensues. The O’Donnell pressure of attack continues so fiercely that the broken O’Neill host is forced back on the ford and attempts to recross the Swilly. As the tide is now coming in, many of them drown in the speeding rush of waters. O’Neill’s losses are estimated by their enemies at 1,400 men killed and no prisoners are mentioned, although the English sources note a more credible total of 680 dead. With many of his most senior commanders and advisors killed amid the chaos of the first onslaught, O’Neill himself escapes the final slaughter with the timely aid of a party of the Gallaghers. They guide him to Ath an Tairsi (Ford of protection), near Crieve Smith in Oldtown today, where they escort him to his own territory and relative safety.
Many of the Donnelleys, Shane’s foster family and the source of his strongest support, defend him to the last and are decimated at Farsetmore. Abandoned by his tanisté and all of his Urríthe, literally under-kings, and with the destruction of his army, the “most powerful force Gaelic Ireland had yet witnessed,” Shane begins looking for a mercenary force to sustain him until he can make good his losses. With all other options closed, he turns to a warband hired to fight against him the previous winter by William Piers from among the MacDonald’s of Dunnyveg. He arrives at their camp at Cushendun with a small retinue and during their negotiations an altercation occurs, in which Shane is killed. Despite being engineered by Piers, this assassination has gone down in history as retribution for Shane’s military action against the MacDonalds in 1565. Shane is buried in a place called CrossSkern Church at Ballyterrim townland in the hills above Cushendun. Later his remains are exhumed with his head then being sent to Dublin.
(Pictured: An artist’s impression of an O’Donnell gallowglass dispatching an O’Neill kern in the waters of the Swilly, with Glebe Hill in the background, May 8, 1567)
The play is a tragicomedy about a small rural town in Ireland where many of the townspeople are extras in a Hollywood film. The story centres on Charlie Conlon and Jake Quinn, who, like much of the town, are employed as extras for the filming. The key point in the play is when a local teenager commits suicide, by drowning himself with stones in his pockets, after he is humiliated by one of the film stars. The script calls upon the cast of two to perform all 15 characters (men and women), often switching gender and voice swiftly and with minimal costume change. Comedy also derives from the efforts of the production crew to create the proper “Irish feel” – a romanticised ideal that often conflicts with the reality of daily life.
The play is first shown as a DubbleJoint Production premiering in West Belfast in August 1996. The set design, by Jack Kirwan, is simple – a backcloth depicting the cloudy sky above the Blasket Islands, a row of shoes (symbolising the myriad characters) and a trunk, a box, and two tiny stools. The lighting design is originally by James C. McFetridge and this design is used in both the London West End and the Broadway versions of the show.
The show moves to the Edinburgh Festival Fringe in 1999. It then returns to Ireland and has a brief run in Dublin before moving to London‘s Tricycle Theatre. It then transfers to the New Ambassadors Theatre in London’s West End. The show, however, proves so successful, its run is extended and moves to the Duke of York’s Theatre up the road, where it remains for three years.
The original cast of Hill and Campion take the show to Broadway and, as its West End run continues to play to packed houses, actors line up to play Charlie and Jake, most notably Bronson Pinchot, Rupert Degas and Simon Delaney.
The play wins the Irish Times/ESB Irish Theatre Award for Best Production in 1999, wins two Laurence Olivier Awards in 2001 for Best New Comedy and Best Actor (Conleth Hill) and is also nominated for three Tony Awards in 2001.
The play is revived at London’s Tricycle Theatre in 2011, with Jamie Beamish as Charlie and Owen McDonnell as Jake, and at the Tron Theatre, Glasgow in 2012 performed by Robbie Jack and Keith Fleming.
For the 20th anniversary of the first production, The Dukes in Lancaster and The Theatre Chipping Norton co-produce a touring production which opens at The Dukes on February 25, 2016, and tours 35 venues between then and May 28, 2016. Charlie de Bromhead plays Jake and Conan Sweeny plays Charlie.
The original version of the play is created in collaboration with theatre director Pam Brighton, who later sues Marie Jones for co-authorship rights. Brighton loses the case in the high court, and subsequently becomes bankrupt.
Hackett is born into a working-class family in Dublin on July 25, 1893, the daughter of John Hackett, a hairdresser, and Roseanna Dunne. According to the 1901 census, she is living with her widowed mother and five other family members in a tenement building on Bolton Street in Dublin. The available documents suggest that her father dies when she is still very young. She joins the Irish Transport and General Workers’ Union (ITGWU) when it is established in 1909 by James Larkin, which marks the beginning of her lifelong activity in trade unionism. By 1911 she is living with her family in a cottage on Old Abbey Street, and her mother has remarried to Patrick Gray.
Hackett fights for many decades for the rights of workers. Through her affiliation and work with the ITGWU, the IWWU and the Irish Citizen Army, she helps carve out and secure modern-day working conditions. Her career begins as a packer in a paper store, then becoming a messenger for Jacob’s biscuits. At that time the working conditions in the factory are poor.
On August 22, 1911, Hackett helps organise the withdrawal of women’s labour in Jacob’s factory to support their male colleagues who are already on strike. With the women’s help, the men secure better working conditions and a pay rise. Two weeks later, at the age of eighteen, she co-founds the IWWU with Delia Larkin. During the 1913 lock-out she helps mobilise the Jacob’s workers to come out in solidarity with other workers. They, in turn, are locked out by their own employers. This does not stop her work to help others, and she, along with several of her IWWU colleagues, set up soup kitchens in Liberty Hall to help feed the strikers. However, in 1914 her Jacob’s employers sack her over her role in the lock-out.
Hackett begins work as a clerk in the printshop in Liberty Hall, and it is here she becomes involved with the Irish Citizen Army. She is involved in preparations for the 1916 Rising, working in a union shop, helping with printers, and making first-aid kits and knap-sacks.
If other members of the ITGWU were looking for James Connolly, Hackett aids in bringing them to him. She “worked as canvasser and traveler and was called on to carry out many confidential jobs.”
Hackett takes up first aid training provided by Dr. Kathleen Lynn for six months before the Rising and attends night marches organised by the Irish Citizen Army. According to her own account, she says, “A week before Easter, I took part in the ceremony of hoisting the challenge flag over Hall.” Like other girls and women who are involved in the Rising, she carries messages and guns and prepares uniforms and food for Irish Republican Army (IRA) members “and sometimes risky work.”
Three weeks before the Easter Rising, the Royal Irish Constabulary (RIC) raid a shop where Hackett is working. She is alone when they come, and they are looking for a copy of “Gael.” She says to them, “wait until I get the head” and she calls for Connolly. The police are stopped by Connolly and Helena Molony who are armed, and Hackett immediately hides everything, so that when the police come back, they cannot get anything.
Through her experience of working in the printshop, Hackett helps to print the Proclamation of the Irish Republic. She is in the printing room in Liberty Hall as a trusted messenger in 1916 when the Proclamation is printed, and it is the first time she is allowed in. Three men are there when she enters the room and one comes over to her, shakes her hand and congratulates her. It makes her very proud, especially since no one else is allowed to get in. She subsequently tells family members of handing it still wet to James Connolly before it is read by Patrick Pearse outside the entrance to the General Post Office (GPO).
Hackett is an active member of the Irish Citizen Army. On Easter Tuesday, under the command of Constance Markievicz, she takes part in the 1916 Rising and is located in the area of St. Stephen’s Green and the Royal College of Surgeons in Ireland. This position is heavily attacked with guns, short of first aid and “looked like a death trap.” However, after moving from an initially overlooked position in St. Stephen’s Green, it is one of the last positions to surrender. In the Royal College, as a first-aid practitioner, she is allowed entry to the lecture room sanctioned to the Red Cross only. Another first-aider, Aider Nora O’Daily, later reports that during those days, “I have a very kind remembrance of Little Rosie Hackett of the Citizen Army, always cheerful and always willing; to see her face about the place was a tonic itself.”
After surrendering, the rebels are taken to Dublin Castle. Hackett is imprisoned in Kilmainham Gaol for ten days.
In 1917, on the anniversary of Connolly’s death, Hackett, together with Helena Molony, Jennie Shanahan and Brigid Davis, print and hang a poster detailing the anniversary. After the first poster displayed by the ITGWU members is taken down by the police, they work to ensure that their poster will stay on Liberty Hall much longer by staying on top of the roof to defend it. They barricade the door using a ton of coal and nails on the windows. The poster is hanging there until 6:00 p.m. and thousands of people can see it.
After the Rising, Hackett returns to the IWWU which, at its strongest, organises over 70,000 women. After the 1945 laundry strike, they win an extra week of paid holidays for the workers. She attends many important labour union events such as the opening of the new Liberty Hall on May 2, 1965, and Arbour Hill memorial services. Until her retirement, she runs the trade union shops resulting in over five decades of active participation in the Irish trades union movement work to improve conditions for Irish workers. In 1970 she is awarded a gold medal for fifty years of ITGWU membership.
In the 1970s, Walter McFarlane, then branch secretary of the ITGWU, awards an honorary badge for Hackett’s fifty years contribution to the union.
Hackett never marries and lives in Fairview, Dublin, with her brother Tommy until her death on May 4, 1976. She is buried at St. Paul’s plot in Glasnevin Cemetery next to her mother and stepfather. At her burial, she is honoured with a military salute and her coffin is covered with the Irish flag. After her passing, her legacy is remembered in the union’s newspaper, a tale of the strife of Hackett together with the rest of Dublin’s working class, for which she fought to change.
In May 2014, the Rosie Hackett Bridge is officially opened by the Lord Mayor of Dublin. The Hackett Bridge Campaign began in October 2012, led by three women Angelina Cox, an active member of Labour Youth, Jeni Gartland and Lisa Connell. The final shortlist of contending names for the new bridge were Rosie Hackett, Kathleen Mills, Willie Bermingham, Bram Stoker and Frank Duff.
In April 2015, a plaque is unveiled on Foley Street by the North Inner City Folklore Project to commemorate the women of the Irish Citizen Army. The plaque lists Hackett as a member of the St. Stephen’s Green/College of Surgeons garrison during the 1916 Easter Rising.
Dowden is the son of John Wheeler Dowden, a merchant and landowner, and is born three years after his brother John, who becomes Bishop of Edinburgh in 1886. His literary tastes emerge early, in a series of essays written at the age of twelve. His home education continues at Queen’s College, Cork and at Trinity College, Dublin. He contributes to the literary magazine Kottabos.
Dowden has a distinguished career, becoming president of the University Philosophical Society, and wins the vice-chancellor’s prize for English verse and prose, and the first senior moderatorship in ethics and logic. In 1867 he is elected professor of oratory and English literature in Dublin University.
Dowden’s first book, Shakespeare: A Critical Study of His Mind and Art (1875), results from a revision of a course of lectures, and makes him widely known as a critic: translations appear in German and Russian; his Poems (1876) goes into a second edition. His Shakespeare Primer (1877) is translated into Italian and German. In 1878 the Royal Irish Academy awards him the Cunningham gold medal “for his literary writings, especially in the field of Shakespearian criticism.”
Later works by Dowden in this field include an edition of The Sonnets of William Shakespeare (1881), Passionate Pilgrim (1883), Introduction to Shakespeare (1893), Hamlet (1899), Romeo and Juliet (1900), Cymbeline (1903), and an article entitled “Shakespeare as a Man of Science” (in the National Review, July 1902), which criticizes T. E. Webb’s Mystery of William Shakespeare. His critical essays “Studies in Literature” (1878), “Transcripts and Studies” (1888), “New Studies in Literature” (1895) show a profound knowledge of the currents and tendencies of thought in various ages and countries; but his The Life of Percy Bysshe Shelley (1886) makes him best known to the public at large. In 1900 he edits an edition of Shelley‘s works.
Other books by Dowden which indicate his interests in literature include: Southey (1879), his edition of Southey’s Correspondence with Caroline Bowles (1881), and Select Poems of Southey (1895), his Correspondence of Sir Henry Taylor (1888), his edition of William Wordsworth‘s Poetical Works (1892) and of his Lyrical Ballads (1890), his French Revolution and English Literature (1897), History of French Literature (1897), Puritan and Anglican (1900), Robert Browning (1904) and Michel de Montaigne (1905). His devotion to Johann Wolfgang von Goethe leads to his succeeding Max Müller in 1888 as president of the English Goethe Society.
In 1889 Dowden gives the first annual Taylorian Lecture at the University of Oxford, and from 1892 to 1896 serves as Clark lecturer at Trinity College, Cambridge. To his research are due, among other matters of literary interest, the first account of Thomas Carlyle‘s Lectures on periods of European culture; the identification of Shelley as the author of a review (in The Critical Review of December 1814) of a romance by Thomas Jefferson Hogg; a description of Shelley’s Philosophical View of Reform; a manuscript diary of Fabre d’Églantine; and a record by Dr Wilhelm Weissenborn of Goethe’s last days and death. He also discovers a Narrative of a Prisoner of War under Napoleon (published in Blackwood’s Magazine), an unknown pamphlet by Bishop George Berkeley, some unpublished writings of William Hayley relating to William Cowper, and a unique copy of the Tales of Terror.
Dowden’s wide interests and scholarly methods make his influence on criticism both sound and stimulating, and his own ideals are well described in his essay on The Interpretation of Literature in his Transcripts and Studies. As commissioner of education in Ireland (1896–1901), trustee of the National Library of Ireland, secretary of the Irish Liberal Union and vice-president of the Irish Unionist Alliance, he enforces his view that literature should not be divorced from practical life. His biographical/critical concepts, particularly in connection with Shakespeare, are played with by Stephen Dedalus in the library chapter of James Joyce‘s Ulysses. Leslie Fiedler is to play with them again in The Stranger in Shakespeare.
Dowden marries twice, first to Mary Clerke in 1866, and secondly in 1895 to Elizabeth Dickinson West, daughter of the dean of St Patrick’s. His daughter by his first wife, Hester Dowden, is a well-known spiritualist medium.
Dowden dies in Dublin on April 4, 1913. His Letters are published in 1914 by Elizabeth and Hilda Dowden.
A Dublin City Council plaque commemorating Dowden is unveiled on November 29, 2016.
Ó Súilleabháin is deeply involved in Daniel O’Connell‘s Catholic emancipation movement and in relief work among the poor of County Kilkenny. He is also an avid bird watcher and a collector of manuscripts in the Irish language. His diary, published later as Cín Lae Amhlaoibh, is kept between 1827 and 1835. It remains one of the most important sources for 19th-century Irish life and one of the few surviving works from the perspective of the Roman Catholic lower and middle classes. (A translation has been published in English and an abridged and annotated edition in Irish, both edited by Tomás de Bhaldraithe.) He also composes verse and stories.
Ó Súilleabháin is born in Killarney, County Kerry. He comes to live at Callan, County Kilkenny, when he is nine years old, joining his father, Donncha Ó Súilleabháin. Father and son establish themselves as teachers in the surrounding towns. They begin by teaching under the hedges, but eventually a cabin is built as a school. He takes over the post of teacher there when his father dies in 1808. He remains a resident of Callan until his death. At the time, County Kilkenny is one of the most strongly Irish-speaking areas in Leinster.
As a teacher, Ó Súilleabháin is well versed in mathematics and Latin, and likely teaches English to a high standard. His diary shows him to have a deep interest in the natural world, and there are daily references to the weather.
Though Ó Súilleabháin is clearly a master of English, his diary is mostly in Irish, with occasional business-related entries in English, likely so that such transactions can be verified by others. He mostly eschews the archaisms favoured by other writers in Irish, writing in a fluent, flexible, colloquial style which could encompass both concision and literary elaboration. His diary shows him to be deeply involved in the life of the poor but to also be well acquainted with local notables. He is fond of occasional revelry and a good meal.
Ó Súilleabháin has an impressive collection of Irish language manuscripts, both prose and verse, which are supplemented by books. As a businessman, he deals in linen, corn and meal, and often has to make long trips to Dublin, Clonmel and Waterford.
Ó Súilleabháin marries a woman named Máire Ní Dhulachanta, not often mentioned in his diary. They have six or seven children, four of whom survive into adulthood. Her death, however, causes him great grief, and he never remarries.
Ó Súilleabháin dies on November 20, 1838, in Callan and is buried in the family plot in St. Brigid’s graveyard.
Amhlaoibh’s original manuscript is currently in the possession of the Royal Irish Academy. An edition of the complete manuscript is published as Cinnlae Amhlaoibh Uí Shúileabháin by M. McGrath in 1936-37 and an abridged and annotated edition, Cín Lae Amhlaoibh, by Tomás de Bhaldraithe in 1970–1973. A translation, The Diary of an Irish Countryman, is published by de Bhaldraithe (Mercier Press) in 1979.
(Pictured: The Seal of Milesius, the official seal of the Ó Súilleabháin Clann of Munster)
Cummins begins to study at UCC in 1912. At that time, there are 78 women students out of the 420 students enrolled. She graduates with an engineering degree in 1915. During her time in engineering, she is editor of the Journal of the Engineering Society.
While she is in college, Cummins is on the Ireland field hockey team. She earns her first “cap” for hockey in 1914 and leads the college hockey team to victory in the Munster cup. The Irish hockey team tours the United States in 1925 with Cummins as the captain. With the team she goes to the White House at the invitation of Calvin Coolidge.
Cummins works for the Royal Arsenal with the munitions factory at Woolwich, London, and then the Vickers Limited factory at nearby Erith. She works in a shipyard in Scotland during World War I between 1915 and 1916 before returning to Cork. Initially, she finds it difficult to find work there.
In 1924, Cummins founds a private practice in the city and works there until 1927 at which time she is appointed to the Irish Land Commission in Dublin. She moves to Dublin and although she visits, she never returns to live in Cork. She retires from the Land Commission in 1954.
Cummins is a Council member of the Women’s Engineering Society, having joined at the organisation’s inception. In December 1919, she writes an encouraging article in the very first edition of the society’s journal, The Woman Engineer. Based on her own Irish university experience, it lays out the practicalities of studies as well as social interactions likely to be encountered by a woman thinking of training as a civil engineer. The following year, she has another article published, this time in the Practical Engineer magazine, entitled The Suitability of Women for the Engineering Industries.
Twenty years later, in 1940, Cummins writes a lively piece entitled Women Engineers Overseas – in Eire for The Woman Engineer journal on her experiences as one of the earliest women engineers in Ireland. In this article, she recounts a tale of encountering the “oldest Inhabitant” of a very rural area, a proud owner of two fine horses, who on discovering “you must be an engineer, so would ye mind mending the electric light in the mare’s stable?”
Cummins dies at the age of 73 in Dublin on April 30, 1968.
(Pictured: Detail from photo of the 1913-14 2nd Year Engineering Class at University College Cork (UCC University Archives, OCLA, UCC))
Born in Derry in 1677, Farquhar is one of seven children born to William Farquhar, a clergyman of modest means. The author of “Memoirs of Mr. George Farquhar,” a biographical sketch prefixed to certain 18th-century editions of his works, claims that he “discovered a Genius early devoted to the Muses. When he was very young, he gave Specimens of his Poetry; and discovered a Force of Thinking, and Turn of Expression, much beyond his years.”
Farquhar is educated at Foyle College and later enters Trinity College Dublin at age seventeen as a sizar under the patronage of the Bishop of Dromore, who may have been related to Farquhar’s mother. He may have initially intended to follow his father’s profession and become a clergyman but is “unhappy and rebellious as a student” and leaves college after two years to become an actor. His 18th-century biographer claims that the departure is because “his gay and volatile Disposition could not long relish the Gravity and Retirement of a College-life,” but another story of uncertain veracity has him being expelled from Trinity College due to a “profane jest.” The two accounts are not necessarily mutually exclusive.
Farquhar joins a company performing on the Dublin stage, probably through his acquaintance with the well-known actor Robert Wilks. However, he is reportedly not that impressive as an actor. It is said that “his voice was somewhat weak” and that “his movements [were] stiff and ungraceful.” But he is well received by audiences and thought to continue in this career “till something better should offer.” Some of the roles reportedly played by Farquhar are Lennox in William Shakespeare‘s Macbeth, Young Bellair in The Man of Mode by George Etherege, Lord Dion in Philaster by Francis Beaumont and John Fletcher, and Guyomar in The Indian Emperour by John Dryden.
During one of the performances in the Dryden play, an accident on stage puts an end to Farquhar’s acting career. As Guyomar, he is supposed to “kill” Vasquez, one of the Spanish generals in the drama. Forgetting to exchange his sword for a foil before enacting this scene, he severely wounds Price, the actor playing Vasquez. Although Price recovers, Farquhar resolves after this mishap to give up acting for good.
Farquhar then leaves for London, “possibly with a draft of his first play in his portmanteau.” Some writers tie his move to that of his friend Wilks, who had received an offer from the manager of Drury Lane to come to London and join that theatre. Wilks is also credited with encouraging Farquhar’s efforts at writing plays.
Farquhar’s first comedy, Love and a Bottle, premieres in 1698 and is well received by the audience. Called a “licentious piece” by one scholar and cited as proof that Farquhar had “absorbed the stock topics, character-types, and situations of Restoration comedy” by another, the play deals with Roebuck, “An Irish Gentleman of a wild roving Temper” who is “newly come to London.” The general character of the play can be evaluated by considering that in the opening scene, Roebuck tells his friend Lovewell that he has left Ireland due to getting a woman pregnant with twins and to Roebuck’s father trying to force Roebuck to marry the woman; however, Roebuck remarks, “Heav’n was pleas’d to lessen my Affliction, by taking away the She-brat.”
After the favourable reception of Love and a Bottle, Farquhar decides to devote himself to playwriting. He also at this point receives a commission in the regiment of the Earl of Orrery, so his time for the next few years is divided between the vocations of soldier and dramatist. It is also at about this time that he discovers Anne Oldfield, who is reading aloud a scene from The Scornful Lady at her aunt’s tavern. Impressed, he brings her to the notice of Sir John Vanbrugh, and this leads to her theatrical career, during which she is the first performer of major female roles in Farquhar’s last comedies.
In 1700, Farquhar’s The Constant Couple is acted at Drury Lane and proves a great success, helped considerably by his friend Wilks’ portrayal of the character of Sir Henry Wildair. The playwright follows up with a sequel, Sir Harry Wildair, the following year, and in 1702 writes the comedies The Inconstant and The Twin Rivals. Also in 1702, he publishes Love and Business, a collection that includes letters, verse, and A Discourse Upon Comedy.
The next year, Farquhar marries Margaret Pemell, “a widow with three children, ten years his senior,” who reportedly tricks him into the marriage by pretending to have a great fortune. His 18th century biographer records that “though he found himself deceived, his Circumstances embarrassed, and his Family increasing, he never upbraided her for the Cheat but behaved to her with all the Delicacy and Tenderness of an indulgent Husband.” He is engaged in recruiting for the army, due to the War of the Spanish Succession, for the next three years, writing little except The Stage Coach in collaboration with Peter Motteux, an adaptation of a French play. He draws on his recruiting experience for his next comedy, The Recruiting Officer (1706). However, he has to sell his army commission to pay debts, reportedly after the Duke of Ormonde advises him to do so, promising him another but failing to keep his promise.
Early in 1707, Farquhar’s friend Wilks visits him. Farquhar is ill and in distress, and Wilks is said to have “cheered him with a substantial present and urged him to write another comedy.” This comedy, The Beaux’ Stratagem, is given its première on March 8, 1707. It is known from Farquhar’s own statement prefacing the published version of the play that he wrote it during his sickness:
“The reader may find some faults in this play, which my illness prevented the amending of; but there is great amends made in the representation, which cannot be match’d, no more than the friendly and indefatigable care of Mr. Wilks, to whom I chiefly owe the success of the play.”
Daniel Doyle, Irish folk singer, is born in Dublin on April 28, 1940. During the 1960s and 1970s, he is one of the top Irish singers, regularly featuring in the Irish charts and scoring three No.1 singles. He records twenty-five albums and is known for his chart-topping songs “Whiskey on a Sunday,” “Daisy a Day” and “The Rare Ould Times.”
After leaving school at the age of fourteen, Doyle starts doing odd jobs, including working as general factotum in Dublin’s Pike Theatre, where he begins to pick up, from the travelling players, songs from the Irish countryside.
During the 1960s and 1970s, Doyle is one of the top Irish singers, regularly featuring in the Irish charts and scoring three No.1 singles. His song “The Rare Auld Times” notably displaces ABBA‘s “Take a Chance on Me” after just one week at the top. The song is composed in the 1970s by Pete St. John for the Dublin City Ramblers and peaks on the Irish Music Charts for twelve weeks. In 1979, he is the first artist to record St. John’s song “The Fields of Athenry.” He is probably best known for his 1967 number one hit “Whiskey on a Sunday.” His other notable works are “A Daisy a Day” and “The Rare Auld Times.” The hit songs “Daisy A Day,” “Streets of London,” “Lizzie Lindsay” and “Whiskey on a Sunday” that are released in the 1960s make him popular.
In 1983, Doyle moves to the United States from Ireland.
Chancellor is born at 8 Fitzwilliam Place, Dublin, on January 9, 1910. Her parents are John William Chancellor, a Dublin clockmaker, jeweler, and photographer, and Cicely Chancellor (née Granger). They marry in Billericay, Essex, in 1904. She has an elder sister, Joyce Fanny, who also becomes an actress. She attends Nightingale Hall and Alexandra College, going on to train as a secretary.
Chancellor’s first appearance on stage is as a fairy in a benefit performance at the Gaiety Theatre in 1914. She appears again at the Gaiety in 1922 as Gwennie in F. Anstey‘s The Man from Blankley’s, and then studies drama under Frank Fay. In the 1920s, she acts in the Dublin Drama League’s productions in the Abbey Theatre. Once she joins the Gate Theatre her career progresses, establishing her as one of the principal actresses in the Gate by the early 1930s.
Chancellor plays Naomi alongside Orson Welles in a production of Jud Süss in October 1931. Welles becomes infatuated with her and later describes her as “the sexiest thing that ever lived.” In 1931, she debuts in J. B. Fagan‘s production of The New Gossoon by George Shiels as Biddy Henley at the Apollo Theatre. Her most noted roles are as Toots in Youth’s the Season in 1932 by Mary Manning, Laura in a production of Carmilla in 1932, based on the Gothicnovella by Sheridan Le Fanu, Ophelia in 1932 and Cicely in The Importance of Being Earnest in 1933. Touring with the Gate company in 1935, she plays Stella in its production of Lord Longford‘s Yahoo performed in the Westminster Theatre, London. She stars with James Mason in the Gate’s production of Pride and Prejudice in 1937. Disappointed with the parts she is getting at the Gate after that and much to the annoyance of Micheál Mac Liammóir and Hilton Edwards, she joins Lord Longford’s first provincial tour in 1937.
In the late 1930s, Chancellor works more often in London. Following her appearance as Baby Furze in the 1938 production of Spring Meeting by Molly Keane and John Perry, she is nominated as “Star of the Future” by the Daily Mail. She acts alongside Alec Guinness and Peggy Ashcroft in 1940 in Clemence Dane‘s Cousin Muriel at the Globe Theatre, directed by John Gielgud.
Chancellor returns to the Gaiety Theatre in 1941 to act with Hilton Edwards in a production of Caesar and Cleopatra by George Bernard Shaw, a production that marks the 75th anniversary of the Gaiety. The press welcomes her return to the company, but her fellow actors are disturbed by the fact she is then living with Denis Johnston, the husband of fellow actress Shelah Richards. After Johnston’s divorce, they marry in March 1945 in Dungannon, County Tyrone. She partly retires from acting to raise their sons, but also due to her increasing deafness that had begun in her teens.
In 1969, Chancellor returns to Ireland with her family and settles in Dalkey, County Dublin. She dies in Dún Laoghaire on April 27, 1984, and is buried in the close of St. Patrick’s Cathedral, Dublin.
seamus dubhghaill 