Jones is the son of miniature painter Edward Jones. Under the identity of “J. Jones,” architect, 7 Amiens Street, North Strand, Dublin, he exhibits several watercolors at the Royal Hibernian Academy (RHA) in 1828 and 1829, including his View of the Town of Youghall, showing the proposed Chain Bridge (1828) and Design for a Viaduct (1829). He studies engineering under Alexander Nimmo and works for him on major engineering projects in Ireland including the building of the bridge at Waterford from 1829-1832, which he directs. He is listed as a civil engineer in Wilson’s Dublin Directory for the years 1833-35 with an office address at the Commercial Buildings, Dame Street. In 1839, he is awarded a Telford Medal in silver and 20 guineas for his paper and drawings on the sewage in Westminster.
Riverdance is rooted in a three-part suite of baroque-influenced traditional music called Timedance composed, recorded, and performed for the 1981 Eurovision Song Contest, which is hosted by Ireland. At the time, Bill Whelan and Dónal Lunny compose the music, augmenting the Irish folk band Planxty with a rock rhythm section of electric bass and drums and a four-piece horn section. The piece is performed, with accompanying ballet dancers, during the interval of the contest, and later released as a Planxty single. Whelan has previously produced EastWind, an album by Planxty member Andy Irvine with Davy Spillane who’s cross between Irish and Southeastern European folk music proves an influence on Riverdance. Thirteen years later, Bill Whelan is invited to do the intermission piece for another Eurovision Song Contest in Dublin and composes Riverdance. In the book The Humours of Planxty by Leagues O’Toole, Whelan says, “It was no mistake of mine to call it Riverdance because it connected absolutely to Timedance.”
The 1994 performance earns a standing ovation from the packed theatre of 3,000 people. As a result of this success, Riverdance is invited to perform at the prestigious Royal Variety Performance at Dominion Theatre, London, in the presence of Prince Charles on November 28, 1994.
An audio recording of Riverdance enters the Irish Singles Chart at number one on May 5, 1994, and remains there throughout the summer, eventually totalling a record eighteen weeks at #1. In response to the Rwandan genocide of May/June 1994, a video of the Eurovision interval performance is released by the Irish broadcaster Raidió Teilifís Éireann under the title Riverdance for Rwanda with all proceeds going to the Rwanda Appeal Disasters Joint Appeal Committee.
The success of the Eurovision performance leads husband and wife production team John McColgan and Moya Doherty to consider how to develop the piece. They decide to produce and direct a stage show, expanding the Eurovision piece and Bill Whelan’s composition. In November 1994, tickets are sold in Dublin for the first full-length performance of Riverdance, which opens at the Point Theatre on February 9, 1995. The show runs for five weeks and is a sell out with over 120,000 tickets sold. It stars the original lead dancers from the Eurovision performance as well as many from the dance troupe featured in the Eurovision performance.
Riverdance continues to be performed all over the world, in a diminished format and in smaller venues. Current productions are geared towards smaller theatres, whereas past productions have been performed in large theatres and arenas. Sets have been simplified, and some numbers contain fewer performers than in past productions.
On Saturday, April 22, 1916, the Easter Rising, originally planned for the following day, Easter Sunday, is postponed for one day.
At dawn a messenger from the Kerry Volunteers arrives in Dublin and informs James Connolly, Commandant of the Dublin Brigade, that Roger Casement had been arrested in County Kerry the previous day during a failed attempt to smuggle arms into Ireland on board the German ship Aud. A meeting of the Military Council is hastily organised, and the decision is made not to inform Chief-of-Staff of the Irish Volunteers, Eoin MacNeill, about Casement’s arrest.
Later in the morning, after attempting to escape the area, Karl Spindler, captain of the Aud, makes the decision to scuttle his ship after it is intercepted by the Royal Navy. Although Spindler and the crew are rescued, the armaments on board the Aud are lost. By early afternoon the Military Council is made aware of the loss of their arms shipment.
At 6:00 PM, Sean Fitzgibbon, Colm O’Loughlin, and Michael Joseph O’Rahilly arrive at Woodtown Park and inform MacNeill of the arrests and the loss of the Aud. After confronting Patrick Pearse at St. Enda’s School, a bilingual school for boys founded by Pearse, MacNeill and others, including O’Rahilly and Bulmer Hobson, gather at the house of Seumas O’Kelly on Rathgar Road and a decision is made to issue countermanding orders cancelling the Rising planned for Easter Sunday. To make sure that the countermanding order is received and understood, James Ryan is sent overnight to Cork, Colm O’Loughlin to Dundalk and Coalisland, Sean Fitzgibbon to Waterford, and Min Ryan to Wexford. O’Rahilly travels to Limerick, Kerry, Cork, and Tipperary. This succeeds in delaying the rising for only one day, although it greatly reduces the number of Volunteers who turn out.
During the evening, Major-General Sir Lovick Friend, General Officer Commanding of British forces in Ireland, travels to London on leave in wake of the capture of the Aud believing that any potential insurgency has been stopped. Chief Secretary Augustine Birrell is also in London having attended a Cabinet meeting. Both men remain in London through Easter, leaving Under Secretary Matthew Nathan as the most senior British official remaining in Dublin. Lord Lieutenant of Ireland, Ivor Churchill Guest, 1st Viscount Wimborne, urges Nathan to order the arrest of a large number of rebel leaders however he is unwilling to do so without the authorisation of Chief Secretary Birrell.
George Friedrich Handel’s Messiah is performed for the first time at Mr. Neale’s Great Musick Hall on Fishamble Street in Dublin on April 13, 1742. It receives its London premiere nearly a year later. After an initially modest public reception, the oratorio gains in popularity, eventually becoming one of the best known and most frequently performed choral works in Western music.
Handel decides to give a season of concerts in Dublin in the winter of 1741–42 arising from an invitation from the Duke of Devonshire, then serving as Lord Lieutenant of Ireland. After arriving in Dublin on November 18, 1741, Handel arranges a subscription series of six concerts, to be held between December 1741 and February 1742 at the Great Musick Hall on Fishamble Street. These concerts are so popular that a second series is quickly arranged. Messiah figures in neither series.
In early March, Handel begins discussions with the appropriate committees for a charity concert, to be given in April, at which he intends to present Messiah. He seeks and is given permission from St. Patrick’s Cathedral and Christ Church Cathedral to use their choirs for this occasion. The women soloists are Christina Maria Avoglio, who sang the main soprano roles in the two-subscription series, and Susannah Cibber, an established stage actress and contralto who sang in the second series. The performance, also in the Fishamble Street hall, is originally announced for April 12, but is deferred for one day “at the request of persons of Distinction.” The orchestra in Dublin, the exact size of which is unknown, is comprised of strings, two trumpets, and timpani. Handel has his own organ shipped to Ireland for the performances.
The three charities benefit from the performance – the prisoners’ debt relief, the Mercer’s Hospital, and the Charitable Infirmary. In its report on a public rehearsal, the Dublin News-Letter describes the oratorio as “… far surpassing anything of that Nature which has been performed in this or any other Kingdom.” Seven hundred people attend the premiere on April 13. In order to accommodate the largest possible audience, gentlemen are requested to remove their swords and ladies are asked not to wear hoops in their dresses. The performance earns unanimous praise from the assembled press: “Words are wanting to express the exquisite delight it afforded to the admiring and crowded Audience.” A Dublin clergyman, Rev. Delaney, is so overcome by Susanna Cibber’s rendering of “He was despised” that he reportedly leaps to his feet and cries, “Woman, for this be all thy sins forgiven thee!” The takings amount to around £400, providing about £127 to each of the three nominated charities and securing the release of 142 indebted prisoners.
Handel remains in Dublin for four months after the premiere. He organises a second performance of Messiah on June 3, which is announced as “the last Performance of Mr. Handel’s during his Stay in this Kingdom.” In this second Messiah, which is for Handel’s private financial benefit, Cibber reprises her role from the first performance, although details of other performers are not recorded.
After his participation as a leader of the Easter Rising of 1916, de Valera is arrested and sentenced to death for his role in the uprising, but the sentence is later commuted due to his American citizenship. Following his release from prison in 1916, he quickly gains fame on the Irish political scene, ultimately becoming the leader of Sinn Féin. He also gains notoriety amongst the British political elites, which ensures his eventual re-arrest and imprisonment in Lincoln Gaol.
De Valera is sent to Lincoln Gaol presumably for his participation in a “German Plot” against the British. Once incarcerated at Lincoln, de Valera, wanting to embarrass the English, quickly begins to plan his escape with the assistance of Milroy and McGarry. Irish Republicans on the outside, including Boland and Collins, also assist in the planning.
Open fields surrounded by barbed wire are to the rear and east of the prison. The Republicans hope to use this to their advantage by sneaking de Valera through a rear door. The plans are sung in Gaelic to de Valera through a window in his cell by a fellow Irish inmate in order to confuse the guards. The first song tells him of the escape route and the second gives him instructions to obtain a copy of the master-key for the prison.
De Valera, being a deeply religious man, is active in the prison’s chapel from the beginning of his internment. Using his connections within the chapel, over time he manages to steal candles from the altar. While Mass is being read, he “borrows” the master-key of the chaplain and makes an impression of it in the candle wax. The mould is then wrapped in paper and tossed over the prison wall so a duplicate can be made.
The key is duplicated and smuggled back into the prison concealed in a cake and the escape begins on the evening of February 3, 1919. While Collins and other members of Sinn Féin cut through the barbed wire, a group of Irish girls are sent to flirt with the prison guards to ensure they are preoccupied. With the guards’ attention diverted, de Valera, wrapped in a fur coat, McGarry, and Milroy are able to walk to the back door of the prison and, after some difficulty with the key, walk away from the prison.
They stroll down Wragby Road to the Adam & Eve Pub where a taxi driver, unaware of who his passengers are, awaits them. De Valera is swiftly moved to the railway station where they split up. Collins and Boland catch a train to London from St. Mark’s while the rest drive to Worksop where another innocent taxi driver drives them to Sheffield. De Valera then returns to Ireland briefly before traveling on to the United States. The prison officials, realizing that the men will be virtually impossible to locate, concede defeat after a one-day search of the city.
The escape from Lincoln Gaol is major news and is covered in all the national papers. Prison officials blame the escape on the ability of special prisoners to interact with the general prison population. The escape proves to be an important moment in Irish history – when a cake, a wax key, and some pretty Irish girls help spring the future Irish president from Lincoln Gaol.
Born in West Bromwich, Staffordshire, England on August 20, 1949, Lynott goes to live with his grandmother, Sarah Lynott, in Crumlin, Dublin, when he is four years old. He is introduced to music through his uncle Timothy’s record collection and becomes influenced by Motown and The Mamas and the Papas.
Growing up in Dublin in the 1960s, Lynott fronts several bands as a lead vocalist, most notably teaming up with bassist Brendan ‘Brush’ Shiels to form Skid Row in early 1968. It is during this period that Lynott learns to play the bass guitar.
Toward the end of 1969, Lynott, now confident enough to play bass himself in a band, teams with Brian Downey, Eric Bell, and Eric Wrixon to form Thin Lizzy. The band’s first top ten hit comes in 1973 with a rock version of the well-known Irish traditional song “Whiskey in the Jar.” With the release of the Jailbreak album in 1976, Lynott and Thin Lizzy become international superstars on the strength of the album’s biggest hit, “The Boys Are Back in Town.” The song reaches the Top 10 in the United Kingdom, No. 1 in Ireland, and is a hit in the United States and Canada.
Having finally achieved mainstream success, Thin Lizzy embarks on several consecutive world tours. However, the band suffers from personnel changes. By the early 1980s, Thin Lizzy is starting to struggle commercially and Lynott starts showing symptoms of drug abuse, including regular asthma attacks. After the resignation of longtime manager Chris O’Donnell, Lynott decides to disband Thin Lizzy in 1983.
In 1984, Lynott forms a new band, Grand Slam, with Doish Nagle, Laurence Archer, Robbie Brennan, and Mark Stanway. The band tours various clubs but suffers from being labeled a poor version of Thin Lizzy due to the inclusion of two lead guitarists. Grand Slam disbands at the end of the year due to a lack of money and Lynott’s increasing addiction to heroin.
Lynott’s last years are dogged by drug and alcohol dependency leading to his collapse on December 25, 1985, at his home in Kew. He is taken to Salisbury Infirmary where he is diagnosed as suffering from septicemia. His condition worsens by the start of the new year, and he is put on a respirator. He dies of pneumonia and heart failure due to septicemia in the hospital’s intensive care unit on January 4, 1986, at the age of 36.
seamus dubhghaill 