The play receives its world premiere when the Druid Theatre Company opens the production at the Town Hall Theatre, Galway on February 1, 1996. It then tours Ireland, stopping off in Longford, Kilkenny and Limerick. It transfers to London‘s West End, where it opens at the Royal Court Theatre on February 29, 1996.
The Druid production returns to Ireland to embark on an extensive national tour, playing in Galway, Cork, Kerry, Limerick, Fermanagh, Donegal and Derry amongst others. The play returns to London where it is revived at the Duke of York’s Theatre on November 29, 1996, for several months.
The play is produced as part of Druid’s Leenane Trilogy, which includes two other plays by Martin McDonagh, in 1997 where it plays as part of another Irish and UK tour, which includes stops at the Olympia Theatre, Dublin and the Royal Court Theatre in London again.
The play receives its American premiere opening Off-Broadway on February 11, 1998, presented by the Atlantic Theatre Company at the Linda Gross Theater. It transfers to the Walter Kerr Theater on Broadway where it opens on April 14, 1998. It receives six Tony Award nominations, winning four for Best Supporting Actor (Tom Murphy), Best Actress (Marie Mullen), Best Supporting Actress (Anna Manahan), and Best Director (Garry Hynes), the first female recipient of a Tony Award for directing a play.
The play is produced in Australia in 1998 and again in 1999. The 1999 production is a tour by the Royal Court Theatre Company, appearing at the Adelaide Festival Centre (May – June 1999) and Wharf 1 (July 1999) and directed by Garry Hynes. The production returns to Ireland in 2000 as part of a final national tour.
The play is revived in July 2010 at the Young Vic Theatre in the West End, starring Irish actress Rosaleen Linehan. The production transfers to Dublin’s Gaiety Theatre where Linehan reprises her role opposite Derbhle Crotty. It then returns to the Young Vic for another run, closing in September 2011.
The Druid Theatre Company presents a revival in 2016–2017. The production starts in Ireland in Galway at the Town Hall Theatre in September 2016, and then tours to The Everyman in Cork, the Lime Tree Theatre in Limerick and the Gaiety Theatre, Dublin. The play then tours in the United States starting in November 2016. The play runs at the Mark Taper Forum in Los Angeles in November 2016 then opens at the Brooklyn Academy of Music in New York City, running from January 11, 2017, to February 5. The production returns to Ireland, playing at The Gaiety Theatre from March 28 to April 15, 2017.
Herbert is born in Dublin on February 1, 1859, to Protestants Edward Herbert and Fanny Herbert (née Lover). At age three and a half, shortly after the death of his father, he and his mother move to live with his maternal grandparents in London, England, where he received encouragement in his creative endeavours. His grandfather is the Irish novelist, playwright, poet and composer Samuel Lover. The Lovers welcome a steady flow of musicians, writers and artists into their home. He joins his mother in Stuttgart, Germany in 1867, a year after she marries a German physician, Carl Schmidt of Langenargen. In Stuttgart he receives a strong liberal education at the Eberhard-Ludwigs-Gymnasium, which includes musical training.
Herbert initially plans to pursue a career as a medical doctor. Although his stepfather is related by blood to the German royal family, his financial situation is not good by the time Herbert is a teenager. Medical education in Germany is expensive, and so he focuses instead on music. He initially studies the piano, flute and piccolo but ultimately settles on the cello, beginning studies on that instrument with Bernhard Cossmann from age 15 to age 18. He then attends the Stuttgart Conservatory. After studying cello, music theory and composition under Max Seifritz, he graduates with a diploma in 1879.
Although Herbert enjoys important careers as a cello soloist and conductor, he is best known for composing many successful operettas that premiere on Broadway from the 1890s to World War I. He is also prominent among the Tin Pan Alley composers and is later a founder of the American Society of Composers, Authors, and Publishers (ASCAP). A prolific composer, Herbert produces two operas, a cantata, 43 operettas, incidental music to 10 plays, 31 compositions for orchestra, nine band compositions, nine cello compositions, five violin compositions with piano or orchestra, 22 piano compositions and numerous songs, choral compositions and orchestrations of works by other composers, among other music.
In the early 1880s, Herbert begins a career as a cellist in Vienna, Austria, and Stuttgart, Germany, during which he begins to compose orchestral music. Herbert and his opera singer wife, Therese Förster, move to the United States in 1886 when both are engaged by the Metropolitan Opera. He continues his performing career, while also teaching at the National Conservatory of Music of America, conducting and composing. His most notable instrumental compositions are his Cello Concerto No. 2 in E minor, Op. 30 (1894), which enters the standard repertoire, and his Auditorium Festival March (1901). He leads the Pittsburgh Symphony Orchestra from 1898 to 1904 and then founds the Victor Herbert Orchestra, which he conducts throughout the rest of his life.
Herbert begins to compose operettas in 1894, producing several successes, including The Serenade (1897) and The Fortune Teller (1898). Some of the operettas that he writes after the turn of the 20th century are even more successful: Babes in Toyland (1903), Mlle. Modiste (1905), The Red Mill (1906), Naughty Marietta (1910), Sweethearts (1913) and Eileen (1917). After World War I, with the change of popular musical tastes, he begins to compose musicals and contributes music to other composers’ shows. While some of these are well-received, he never again achieves the level of success that he enjoyed with his most popular operettas.
A healthy man throughout his life, Herbert dies suddenly of a heart attack at the age of 65 on May 26, 1924, shortly after his final show, The Dream Girl, began its pre-Broadway run in New Haven. He is survived by his wife and two children, Ella Victoria Herbert Bartlett and Clifford Victor Herbert. He is entombed in Woodlawn Cemetery in The Bronx, New York City.
Dennis Day, American singer, radio, television and film personality and comedian of Irish descent, is born Owen Patrick Eugene McNulty on May 21, 1916 in The Bronx borough of New York City.
Mary Livingstone, wife of comedian Jack Benny, brings Day to Benny’s attention after hearing him on the radio during a visit to New York. She takes a recording of Day’s singing to Benny, who then goes to New York to audition Day. The audition results in Day’s role on the Benny program.
Day appears for the first time on Benny’s radio show on October 8, 1939, taking the place of another famed tenor, Kenny Baker. He remains associated with Benny’s radio and television programs until Benny’s death in 1974. He is introduced as a young, naive boy singer, a character he keeps through his whole career.
From 1944 through 1946 Day serves in the United States Navy as a Lieutenant. While in service he is temporarily replaced on the Benny radio program by fellow tenor Larry Stevens. On his return to civilian life, he continues to work with Benny while also starring on his own NBC show, A Day in the Life of Dennis Day (1946–1951). His last radio series is a comedy/variety show that airs on NBC’s Sunday afternoon schedule during the 1954–55 season.
An attempt is made to adapt A Day in the Life Of Dennis Day as an NBC filmed series, produced by Jerry Fairbanks for Dennis’ sponsor, Colgate-Palmolive, featuring the original radio cast, but gets no farther than an unaired 1949 pilot episode. Eventually, his own TV series, The Dennis Day Show, is first telecast on NBC on February 8, 1952, and then in the 1953–1954 season. Between 1952 and 1978, he makes numerous TV appearances as a singer, actor and voice for animation, such as the Walt Disney feature Johnny Appleseed, handling multiple characters. His last televised work with Benny is in 1970, when they both appear in a public service announcement together to promote savings and loans.
Harte’s introduction to Irish traditional singing comes from a chance listening to an itinerant who is selling ballad sheets at a fair in Boyle, County Roscommon. He begins collecting early in life and by the end of his life has assembled a database of over 15,500 recordings.
Harte becomes a great exponent of the Dublin street ballad, which he prefers to sing unaccompanied. He is widely known for his distinctive singing, his Dublin accent having a rich nasal quality complementing his often high register. His voice mellows considerably by the time of his later recordings, allowing for an expressive interpretation of many love songs such as “My Bonny Light Horseman” on the album My Name is Napoleon Bonaparte. This is contrasted sublimely by his cogent interpretation of the popular “Molly Malone.” He also becomes more accustomed to singing with accompaniment which is not strictly part of the Irish singing tradition and does not come naturally to him.
Though Irish Republican in his politics, Harte believes that the Irish song tradition need not be a sectarian or nationalist preserve. He believes that songs are a key to understanding the past often saying, “those in power write the history, while those who suffer write the songs, and, given our history, we have an awful lot of songs.” Though considered a stalwart of traditional Irish singing and well aware of it, he does not consider himself to be a sean-nós singer.
Harte wins the All-Ireland Fleadh Cheoil singing competition on a number of occasions and in 2003 receives the Traditional Singer of the Year award from the Irish-language television channel TG4.
Harte records several albums and makes numerous television and radio appearances, most notably the Singing Voices series he writes and presents for RTÉ Radio, which is produced by Peter Browne in 1987. He is a regular at the Sunday morning sessions at The Brazen Head pub, along with Liam Weldon who runs the session. He is also an enthusiastic supporter of An Góilín Traditional Singer’s Club.
Frank Harte dies of a heart attack, aged 72, on June 27, 2005. His influence is still evident in singers such as Karan Casey and he continues to be remembered fondly in sessions and folk clubs on both sides of the Irish Sea.
Brougham’s father is an amateur painter and dies young. His mother is the daughter of a Huguenot, whom political adversity has forced into exile. He is the eldest of three children. Both of his siblings die in youth, and the father being dead, and the widowed mother left penniless, he is reared in the family and home of an uncle.
Brougham is prepared for college at an academy at Trim, County Meath, twenty miles from Dublin, and subsequently is sent to the University of Dublin. There he acquires classical learning and forms interesting and useful associations and acquaintances. He also becomes interested in private theatricals. He falls in with a crowd that puts on their own shows, cast by drawing parts out of a hat. Though he most always trades off larger roles so he can pay attention to his studies, he takes quite an interest in acting. He is a frequent attendant, moreover, at the Theatre Royal in Hawkins Street.
Brougham is educated with the intention of his becoming a surgeon and walks the Peth Street Hospital for eight months. However, misfortune comes upon his uncle, so he is obliged to provide for himself. Before leaving the university he, by chance, becomes acquainted with the actress Lucia Elizabeth Vestris.
Brougham goes to London in 1830 and, after a brief experience of poverty, suddenly determines to become an actor. He is destitute of everything except fine apparel, and he has actually taken the extreme step of offering himself as a cadet in the service of the East India Company. But, being dissuaded by the enrolling officer, who lends him a guinea and advises him to seek other employment, and happening to meet with a festive acquaintance, he seeks recreation at the Tottenham Theatre where Madame Vestris is acting.
Brougham’s acquaintance with Madame Vestris leads to him being engaged at the theatre, and he thus makes his first appearance on the London stage in July in Tom and Jerry, in which he plays six characters. In 1831 he is a member of Madame Vestris’s company and writes his first play, a burlesque. He remains with Madame Vestris as long as she and Charles Mathews retain Covent Garden Theatre, and he collaborates with Dion Boucicault in writing London Assurance, the role of Dazzle being one of those with which he becomes associated. His success at small or “low” comic roles such as Dazzle earn him the nickname “Little Johnny Brougham,” a moniker which he embraces, and which boosts his popularity with working-class audiences.
In 1840 Brougham manages the Lyceum Theatre, for which he writes several light burlesques, but in 1842 he moves to the United States, where he becomes a member of William Evans Burton‘s company, for which he writes several comedies, including Met-a-mora; or, the Last of the Pollywogs, a parody of John A. Stone and Edwin Forrest’s Metamora; or The Last of the Wamponoags, and Irish Yankee; or, The Birthday of Freedom.
In 1860 Brougham returns to London, where he adapts or writes several plays, including The Duke’s Motto for Charles Fechter. In November 1864 he appears at the Theatre Royal in his native Dublin in the first performance of Dion Boucicault’s Arrah-na-Pogue with Boucicault, Samuel Johnson and Samuel Anderson Emery in the cast.
After the American Civil War Brougham returns to New York City. Brougham’s Theatre is opened in 1869 with his comedies Better Late than Never and Much Ado About a Merchant of Venice, but this managerial experience is also a failure due to disagreements with his business partner, James Fisk. He then takes to playing the stock market. His last appearance onstage is in 1879 as “O’Reilly, the detective” in Boucicault’s Rescued.
Seven senators serve on the subcommittee, with three Republicans and three Democrats in addition to Smith as chair. The other six senators are Jonathan Bourne (R-Oregon), Theodore E. Burton (R-Ohio), Duncan U. Fletcher (D-Florida), Francis G. Newlands (D-Nevada), George Clement Perkins (R-California), and Furnifold McLendel Simmons (D-North Carolina). The composition of the subcommittee is carefully chosen to represent the conservative, moderate and liberal wings of the two parties.
During 18 days of official investigations, punctuated by recesses, testimony is recorded from over 80 witnesses. These include surviving passengers and crew members, as well as captains and crew members of other ships in the vicinity, expert witnesses, and various officials and others involved in receiving and transmitting the news of the disaster. The evidence submitted varies from spoken testimony and questioning, to the deposition of correspondence and affidavits. Subjects covered include the ice warnings received, the inadequate (but legal) number of lifeboats, the handling of the ship and its speed, RMS Titanic‘s distress calls, and the handling of the evacuation of the ship.
The final report is presented to the United States Senate on May 28, 1912. It is nineteen pages long and includes 44 pages of exhibits, and summarises 1,145 pages of testimony and affidavits. Its recommendations, along with those of the British inquiry that concludes on July 3, 1912, lead to many changes in safety practices following the disaster.
The report is strongly critical of established seafaring practices and the roles that RMS Titanic‘s builders, owners, officers and crew had played in contributing to the disaster. It highlights the arrogance and complacency that had been prevalent aboard the ship and more generally in the shipping industry and the British Board of Trade. However, it does not find the International Mercantile Marine Company, an American consortium, or the White Star Line negligent under existing maritime laws, as they had merely followed standard practice, and the disaster could thus only be categorised as an “act of God.”
The inquiry is heavily criticised in Britain, both for its conduct and for Smith’s style of questioning. Many newspapers publish scathing editorial cartoons depicting Smith in unflattering terms. The British government is also hostile towards the inquiry. The British Ambassador to the United States, James Bryce, demands that President William Howard Taft dissolve the committee and refuses to recognise its jurisdiction.
Some British writers, however, applaud the inquiry. G. K. Chesterton contrasts the American objective of maximum openness with what he calls Britain’s “national evil,” which he describes as being to “hush everything up; it is to damp everything down; it is to leave the great affair unfinished, to leave every enormous question unanswered.” The American reaction is also generally positive. The American press welcomes Smith’s findings and accepts his recommendations, commending the senator for establishing the key facts of the disaster.
(Pictured: U.S. Senator William Alden Smith, chairman of the Senate inquiry into the RMS Titanic disaster)
Sheridan is born in Bohola, County Mayo on March 28, 1881. At 6’3″ and 194 lbs., Sheridan is the best all-around athlete of the Irish American Athletic Club, and like many of his teammates, serves with the New York City Police Department from 1906 until his death. He is so well respected in the NYPD, that he serves as the Governor’s personal bodyguard when the governor is in New York City.
A five-time Olympic gold medalist, with a total of nine Olympic medals, Sheridan is called “one of the greatest figures that ever represented this country in international sport, as well as being one of the most popular who ever attained the championship honor.” He wins the discus throw event at the 1904, 1906, and 1908 Summer Olympic Games as well as the shot put at the 1906 Olympics and the Greek discus in 1908. At the 1906 Intercalated Games in Athens, Greece he also wins silver medals in the standing high jump, standing long jump and the stone throw.
In 1907, Sheridan wins the National Amateur Athletic Union discus championship and the Canadian championship, and in 1908 he wins the Metropolitan, National and Canadian championships as well as two gold medals in the discus throw and bronze in the standing long jump at the 1908 Olympic Games.
There are claims that Sheridan fuels a controversy in London in 1908, when flagbearer Ralph Rose refuses to dip the flag to King Edward VII. Sheridan supports Rose by explaining “This flag dips to no earthly king,” and it is claimed that his statement exemplifies both Irish and American defiance of the British monarchy. However, careful research has shown that this is first reported in 1952. Sheridan himself makes no mention of it in his published reports on the Games and neither does his obituary.
Martin Sheridan dies in Manhattan, New York City on March 27, 1918, a very early casualty of the 1918 flu pandemic. He is buried in Calvary Cemetery, Queens, New York. The inscription on the granite Celtic Cross monument marking his grave says in part: “Devoted to the Institutions of his Country, and the Ideals and Aspirations of his Race. Athlete. Patriot.” He is part of a group of Irish American athletes known as the “Irish Whales.”
At Swim-Two-Birds, a novel by Irish writer Brian O’Nolan writing under the pseudonym Flann O’Brien, is published on March 13, 1939. It is widely considered to be O’Brien’s masterpiece, and one of the most sophisticated examples of metafiction.
At Swim-Two-Birds is accepted for publication by Longman on the recommendation of Graham Greene, who is a reader for them at the time. It is published under the pseudonym of Flann O’Brien, a name O’Nolan had already used to write hoax letters to The Irish Times. O’Nolan suggests using “Flann O’Brien” as a penname during negotiation with Longman. The novel’s title derives from Snámh dá Én, a ford on the River Shannon, between Clonmacnoise and Shannonbridge, reportedly visited by the legendary King Sweeney, a character in the novel.
The book does not sell well after it is published. By the outbreak of World War II, it has sold scarcely more than 240 copies. In 1940, Longman’s London premises are destroyed during a bombing raid by the Luftwaffe and almost all the unsold copies are incinerated. The novel is republished by Pantheon Books in New York City in 1950, on the recommendation of James Johnson Sweeney, but sales remain low. In May 1959 Timothy O’Keeffe, while editorial director of the London publishing house MacGibbon & Kee, persuades O’Nolan to allow him to republish At Swim-Two-Birds. More recently, the novel is republished in the United States by Dalkey Archive Press.
The initial reviews for At Swim-Two-Birds are not enthusiastic. The Times Literary Supplement says that the book’s only notable feature is a “schoolboy brand of mild vulgarity.” The New Statesman complains that “long passages in imitation of the Joycean parody of the early Irish epic are devastatingly dull” and the Irish novelist Seán Ó Faoláin comments in John O’London’s Weekly that although the book had its moments, it “had a general odour of spilt Joyce all over it.”
However, most of the support for At Swim-Two-Birds comes not from newspaper reviewers but from writers. Dylan Thomas, in a remark that would be quoted on dust jackets in later editions of the book, says “This is just the book to give your sister – if she’s a loud, dirty, boozy girl.” Anthony Burgess considers it one of the ninety-nine greatest novels written between 1939 and 1984. Graham Greene’s enthusiastic reader’s report is instrumental in getting the book published in the first place.
Stephen Fry has declared At Swim-Two-Birds one of his favourite books. In 2011, the book is placed on Time‘s top 100 fiction books written in English since 1923.
The third Irish Race Convention is held in New York City on March 4, 1916, and serves as an immediate call for the Easter Rebellion in Dublin. Previous conventions were held in Chicago (1881) and Dublin (1896). The Irish Race Conventions are a disconnected series of conventions held in Europe and the Americas between 1881 and 1994. The main participants and financial supporters of the conventions are usually Irish Americans.
The 1916 convention, comprising 2,300 delegates at the Hotel Astor, is held six weeks before the Easter Rising, and considers the division between the home Rule parties and the more militant nationalists. The Rising would be supported by Clan na Gael, but other members remain hopeful that the 1914 Home Rule Act, which had been passed but suspended during World War I, might work.
A majority at the convention support the American policy of neutrality during the war and are opposed to any alliance with Britain. Woodrow Wilson wins the United States presidential election in 1916 with help from Irish Americans and his campaign slogan of “He kept us out of War.”
An important result is the formation of the “Friends of Irish Freedom” that work as a coordinating body to support “the independence of Ireland, the industrial development of Ireland, the use and sale of Irish products, and to revive Irish culture.”
(Pictured: Hotel Astor, located in the Times Square area of Manhattan, New York City. The hotel was demolished in 1967 and replaced with the 54-story high-rise office tower One Astor Plaza.)
Nano Reid, Irish landscape artist, figure painter and portraitist, is born in Drogheda, County Louth on March 1, 1900. An individual, expressionistic artist, Reid is acknowledged to be one of the finest Irish woman painters of twentieth-century visual art in Ireland. Her works are represented in many public collections throughout Ireland.
In 1920, Reid wins a scholarship to study fine art painting and drawing at the Dublin Metropolitan School of Art, now the National College of Art and Design, under Harry Clarke. At the time, she is, in the words of fellow student Hilda van Stockum, “a fierce redhead…uncompromising and looking for truth.” In 1925 she starts showing at the Royal Hibernian Academy (RHA), submitting a total of 42 canvases until the late 1960s.
In 1950, with Norah McGuinness, Reid represents Ireland at the Venice Biennale. This is followed by the Exhibition of Contemporary Irish Art in Aberystwyth, Wales (1953), and the Mostra Internazionale di Bianco e Nero in Lugano, Switzerland (1956), the Guggenheim International Award Exhibition in New York City (1960) and the Twelve Irish Painters show in New York City (1963). In 1974, the Arts Council and the Arts Council of Northern Ireland stage a major retrospective of Reid’s artworks.
Nano Reid dies in Drogheda in 1981. Retrospectives are held at Taylor Galleries in Dublin (1984), Droichead Arts Centre in Drogheda (1991), and at Linenhall Arts Centre in Castlebar, County Mayo (1999).
seamus dubhghaill 