Bedford then mainly works in theatre in the United States, on both coasts, but mainly in New York City both on and off Broadway. He is in the premiere of Tennessee Williams‘s last play Small Craft Warnings at the New Theatre in New York in 1972. Other stage appearances include Brian Friel’s The Mundy Scheme in New York in 1969 and as John Adams in the nationwide tour of the musical 1776. He appears in over 200 stage productions throughout his career.
Bedford dies at the age of 67 on November 20, 1999, in Manhattan, New York City, of cancer six weeks after entering the hospital.
Brenan is born in Cork, County Cork, on November 17, 1828. He begins to write verse at an early age and is one of the genuine poets of the Young Ireland movement. His earlier poems are published under the initials “J. B., Cork,” or “J. B—n,” and some of his American verses under the pseudonym “Gondalez.” He is also an able prose writer.
Brenan is an active member of the Cork Historical Society, and is one of the editors of the Cork Magazine, which appears in November 1847, and continues to be published until the end of 1848, when the journal ceases publication. Some of its contributors, who include Frazer, Martin MacDermott, Fitz James O’Brien, Mulchinock and Mary Savage, later either end up in jail or in exile.
In January 1848, John Mitchel visits Cork and, according to Michael Cavanagh, who publishes a sketch of Brenan’s life in Young Ireland, Dublin, in June and July 1885, Brenan for the first time “beheld the man he most admired on earth, and with whose future destiny, whether for weal or woe, he felt his own was bound up. Never had the archenemy of England a more faithful or earnest follower.”
Brenan contributes to the Mitchel’s United Irishman and sells his rifle to obtain train fare so he can take up his residence in Dublin, the headquarters of the revolutionary movement. He later publishes articles in John Martin‘s The Irish Felon urging the Confederate Clubs members, many of whom have arms, to be in readiness for action. “The sooner you realise the fact,” he writes in a letter addressed to the Members of the Provincial Confederate Clubs, “that the Confederation was got up for the purpose of doing something, the better for us all. Just think what it undertook to do. It undertook to defeat the strongest Government and to liberate the most degraded country that ever existed. It undertook to give – to a province—to strike the chains off millions of slaves and, if necessary, to wash out the iron moulds in blood.”
In another letter to “the Young Men of Ireland” on July 22, 1848, he writes, “On you I principally rely. You realise that you are very ‘rash,’ rather inclined to be ‘violent,’ and have exceedingly little prudence to spare. Brothers, let your watchword be ‘Now or never—now and forever’ rashly.”
Brenan is associated with John Savage and John O’Mahony while Savage is operating on the slopes of the Comeragh Mountains. He is arrested and kept in prison for seven months alternately in Newgate Prison, Carrickfergus and Kilmainham Gaols. During his confinement he writes some fine poems, according to T. F. O’Sullivan, one, entitled Yearnings, evidently addressed to Mary Savage, sister of John.
After his release without trial in March 1849, Brenan becomes editor of the Irishman which had been started in Dublin by Bernard Fulham, and for six months attempts to rekindle the insurrectionary flame in the country. He is implicated in the attack on the Cappoquin police barracks on September 16, 1848, and in October escapes to the United States.
In America Brenan becomes associated with a number of journals, including Horace Greeley‘s New-York Tribune, Devin Reilly’s People, The Enquirer of Newark, New Jersey, and the New Orleans Delta in which he writes a series of papers under the pen-name Ben Fox. On August 27, 1851, he marries Mary Savage, in her parents’ house, on Thirteenth Street, New York.
Brenan writes some articles and poems for John Mitchel’s Irish Citizen in 1854. He is an enthusiastic supporter of the Southern cause and founds the New Orleans Times.
Brenan dies on May 27, 1857, at the early age of twenty-nine and is buried in the old French cemetery of New Orleans. During the last year of his life, he is almost totally blind. He is attended in his last illness by Dr. Dalton Williams. There are seven children of his and Mary’s marriage, only one of whom, Florence, survives their parents. She possesses her father’s literary ability but devotes her life to religion as a member of the Mercy Order.
Brenan’s best-known poem, “Come to Me, Dearest,” is addressed to Mary Savage before their marriage. The love story of Brenan and Mary is told in the sketch by Ellen Mary Patrick Downing, afterwards Sister Mary Alphonsus.
Doheny receives a rudimentary education from an itinerant scholar while labouring on his father’s holding, and in 1826 attends Maher’s classical academy near Emly for nine months. Educating himself in the late 1820s and early 1830s while teaching the children of local farmers, he determines on a career in law to help secure political redress for the disenfranchised poor. He is admitted to Gray’s Inn in November 1834, enters the King’s Inns, Dublin, in 1835 and is called to the Irish bar in 1838. Settling later that year in Cashel, County Tipperary, he first practises in the local courts and then on the southern circuit. Appointed legal assessor to the borough of Cashel under the Municipal Corporations (Ireland) Act 1840, he successfully prosecutes former borough officers for misappropriation of funds and fraudulent transfer of property, winning wider attention. He had supported the campaign for repeal in the early 1830s, and in 1841 joins Daniel O’Connell‘s Repeal Association, becoming active in forming temperance bands and setting up town meetings. By May 1841 he is on the association’s general committee. O’Connell finds him less tractable than most and is ruffled by his queries into the association’s financial management.
During 1842 Doheny begins to associate with the more militant members of the repeal movement such as Thomas Davis. There is a marked gap in age and class between Doheny and most of this group and some look down on his lack of refinement. Others, however, admire his zeal and sincerity, and an anonymous colleague describes him as “rough, generous, bold, a son of the soil, slovenly in dress, red-haired and red-featured, but a true personification of the hopes, passions, and traditions of the people.” Assisting in the launch of The Nation in October 1842, he is chagrined to find most of his articles rejected as unfit for publication, although fifteen are published between January 1843 and September 1844. He also publishes a competent History of the American Revolution (1846) for The Nation‘s “Library of Ireland” series. More impressive as a speaker than a writer, he contributes regularly to repeal meetings at Conciliation Hall, Burgh Quay, Dublin. He enthuses at the apparent martial potential of the immense, ordered crowds attending the “monster” repeal meetings of 1843, and is one of the main organisers of the Cashel meeting of May 31, 1843, at which he is loudly cheered. However, his later claim to have deliberately set up these meetings, with Davis and John Blake Dillon, on quasi-military lines in order to prepare the peasantry for a future war with Britain, is far-fetched. His opposition to O’Connell’s decision to submit to proclamation of the proposed meeting of October 8, 1843, at Clontarf again greatly irritates O’Connell.
An active member of the Repeal Association parliamentary committee from February 1844, in February and March 1845 Doheny chairs a sub-committee of five senior barristers investigating the legality of withdrawal from the House of Commons by the body of repeal MPs, coming “reluctantly” to the verdict that such an action is open to criminal prosecution. O’Connell’s gruff dismissal of his report testifies to their awkward relationship. He further vexes O’Connell by his advocacy of non-denominational university education during debates over the Maynooth College Act 1845. Irrevocable divisions between the Young Irelanders and O’Connell open up between April and July 1846 when Doheny leads calls for endorsement of the conduct of William Smith O’Brien – imprisoned for a month for refusal to serve on a parliamentary committee – and voices Young Ireland’s martial convictions in a speech at Liverpool. After the secession of the Young Irelanders from the Repeal Association in July 1846, he opposes attempts at reconciliation and is one of the founders of the Irish Confederation on January 13, 1847.
During the summer of 1847, Doheny begins setting up “Confederate Clubs” in east Tipperary and aids James Fintan Lalor in organising a failed tenant league meeting at Holycross, County Tipperary, on September 19. He is one of the few Young Irelanders attracted to Lalor’s revolutionary agrarian philosophy, but supports Smith O’Brien against John Mitchel in January 1848, deploring irresponsible demands for insurrection. However, after Mitchel’s conviction for treason felony in May, he supports armed action. Arrested for seditious speechmaking at Cashel on July 12, he is bailed on July 20. During the confused period of “rebellion” in late July, he attempts to organise the peasantry in Tipperary but is frustrated by O’Brien’s vacillation.
After the collapse of the armed adventure at Ballingarry on July 31, Doheny takes refuge near Slievenamon and, with James Stephens, eludes pursuit for nearly two months, until he finally escapes, disguised as a clergyman, on a cattle-ship from Cork to Bristol. Some days later he reaches Paris, where he stays for two months with Stephens and John O’Mahony before leaving for New York City. Practising law in New York, he dedicates himself to the development of an Irish Americanrepublican movement. Tensions between conservative and radical Young Ireland exiles, perhaps aggravated by social snobbery, surface by late 1849, when he is arrested for attempting to push Thomas D’Arcy McGee into an open cellar on a New York street, angered by accusations of boasting, drunkenness, and incompetence. Similar criticisms are made by John Blake Dillon and appear to have some foundation.
Doheny finds time to write The Felon’s Track (1849), a polemical account of the repeal agitation and the 1848 insurrection that is highly critical of O’Connell. Despite a rambling narrative, it becomes a popular work and is reprinted several times. He also gives several lectures on historical and literary subjects to Irish American societies and contributes a memoir on Geoffrey Keating to O’Mahony’s translation (1857) of Foras Feasa ar Éirinn.
Involved with the New York Irish militia from his arrival, he is elected lieutenant colonel of the 69th Infantry Regiment in November 1851, and in September 1852 becomes colonel of a new regiment, the Irish Republican Rifles. These formations are often wracked by dissension over strategy and leadership, and in February 1856 he and O’Mahony found the Emmet Monument Association, planning to mobilise an Irish American force to invade Ireland. Efforts to acquire Russian backing fails on the close of the Crimean War in March 1857.
In autumn 1857, Doheny and O’Mahony make overtures to James Stephens to reorganise the republican movement in Ireland, and in March 1858 they accept Stephens’s demands for undisputed authority there, though by the winter of 1858–59 Doheny shows increasing distrust of Stephens’s ambitions. Adopting the organisational structure set out by Stephens in establishing the IRB in 1858, he and O’Mahony found the American equivalent, the Fenian Brotherhood, in early 1859, although he plays a subordinate part. In July 1859, he founds and edits a short-lived newspaper in New York, The Phoenix, to promote Fenian ideals. Active in opposing the national petition for self-government of 1860–61, he argues that Britain will only yield to force. He assists in making preparations for the funeral of Terence Bellew MacManus in Ireland and acts as one of the pallbearers in New York. Travelling to Ireland in October 1861, he appears to argue for using the excitement engendered by the funeral to spark an insurrection in Dublin but is thwarted by Stephens.
Doheny dies suddenly on April 1, 1862, in New York and is buried in Calvary Cemetery in the city’s borough of Queens.
(From: “Doheny, Michael” by James Quinn and Desmond McCabe, Dictionary of Irish Biography, http://www.dib.ie, October 2009)
Paul Joseph Brady, Irish singer-songwriter and musician, is born in Belfast, Northern Ireland, on May 19, 1947. Interested in a wide variety of music from an early age, his work straddles folk and pop.
Brady begins learning piano around age six and by the age of eleven he has begun to play guitar, spending hours of his school holidays learning every song that the Shadows had recorded. He is also influenced by Chuck Berry.
In 1963, Brady begins performing as a piano player in a hotel in Bundoran, County Donegal. In October 1964, he attends University College Dublin and performs with a number of R&B groups, covering songs by the likes of Ray Charles and James Brown. The first of these is the Inmates (late 1964–about April 1965), which evolves into the Kult (about April–December 1965), featuring Brady, Jackie McAuley (ex-Them, and future Belfast Gypsies and Trader Horne), Brendan Bonass, and Dave Pennefather. He can be seen in the documentary film Charlie Is My Darling waiting outside Dublin‘s Adelphi Cinema for the Rolling Stones‘ concert of September 3, 1965. He next joins Rootzgroup (late 1965–May 1966) and Rockhouse (about May–December 1966).
During Brady’s time at college in Dublin, the country sees a huge rise in interest in traditional Irish music. He joins the popular Irish band The Johnstons when Michael Johnston leaves in May 1967. They move to London in 1969 and subsequently to New York City in 1972 to expand their audience. Despite some success, he returns to Ireland in 1974 to join the Irish group Planxty, the band that subsequently launches the solo careers of Andy Irvine, Liam O’Flynn, Dónal Lunny, and Christy Moore.
When Planxty disbands in late 1975, Brady forms a duo with Irvine from 1976 to 1978, a partnership that produces the successful album, Andy Irvine/Paul Brady. The next few years see him establish his popularity and reputation as one of Ireland’s best interpreters of traditional songs. His versions of ballads like “Arthur McBride” and “The Lakes of Pontchartrain” are considered definitive and are still popular at concerts today. In 1975 in New York, he records three albums for Shanachie Records as guitar accompanist to resident Irish fiddlers Andy McGann, Paddy Reynolds and John Vesey. He also records a 1976 album, The High Part of the Road, for the same label with Irish fiddler Tommy Peoples.
In 1978, Brady releases his first solo album, Welcome Here Kind Stranger, which wins him critical acclaim and is voted the “Folk Album of the Year” by Melody Maker magazine. However, it proves to be his last album covering traditional material. He decides to delve into pop and rock music and releases his first album of this genre in 1981, Hard Station.
Brady releases a number of successful solo albums throughout the 1980s: True for You (1983), Back to the Centre (1985), and Primitive Dance (1987). By the end of the decade, he is recognised and accepted as a respected performer and songwriter. His songs are being covered by a number of other artists, including Santana and Dave Edmunds.
Dylan is sufficiently impressed by Brady’s work to name-check him in the booklet of his 1985 box set, Biograph. The actual quote is “(…) people get too famous too fast these days and it destroys them. Some guys got it down – Leonard Cohen, Paul Brady, Lou Reed, secret heroes, John Prine, David Allen Coe, Tom Waits. I listen more to that kind of stuff than whatever is popular at the moment. They’re not just witchdoctoring up the planet, they don’t set up barriers (…)”.
In 1991, Brady reaches number 5 in the Irish Singles Chart with Nobody Knows.
Since his Hard Station album (1981), Brady is on various major labels until he creates his own label, PeeBee Music, in the late 1990s. He releases three albums in the 1990s: Trick or Treat, Songs & Crazy Dreams (a remixed compilation of earlier songs) and Spirits Colliding, which are met with critical acclaim. Trick or Treat is on Fontana/Mercury Records and receives a lot of promotion. As a result, some critics consider it his debut album and note that the record benefits from the expertise of experienced studio musicians, as well as producer Gary Katz, who works with the rock group Steely Dan. Rolling Stone, after praising his earlier but less-known solo records, calls Trick or Treat Brady’s “most compelling collection.”
Brady goes on to record several other albums, fifteen in total since going solo in 1978, and collaborates with a number of other established musicians including Bonnie Raitt and Richard Thompson. In 2006, he collaborates with Cara Dillon on the track “The Streets of Derry” from her album After the Morning. He also works with Fiachra Trench.
Brady’s fifteenth studio album, Hooba Dooba, is released in March 2010.
In 2017, a friendship is struck with Theo Katzman (Vulfpeck) and Brady tours Ireland in 2019 as half of this duo with Joe Dart, also of vulfpeck, Louis Cato and Lee Pardini. He continues to tour, record and collaborate with other artists. In 2019, Jimmy Buffett begins performing a cover of Brady’s hit, “The World is What you Make It.” In September 2019, Brady joins Buffett on his tour stops in both Dublin and London.
Brady releases the album Unfinished Business on his own label, PeeBee Music, licensed to Proper Music UK, in 2017.
While Brady and Andy Irvine’s planned tour of their 1976 album Andy Irvine/Paul Brady is impacted by the COVID-19 pandemic, they finish the tour in 2022. Musicians to join them on the tour include fiddle player Kevin Burke and multi-instrumentalist Dónal Lunny, both of whom had played on the original album.
In 2009, Brady receives an honorary degree of Doctor of Letters from the University of Ulster, in recognition of his services to traditional Irish music and songwriting.
Frederick Edward McWilliamCBERA, Northern Irish surrealistsculptor, dies in London on May 13, 1992. He works chiefly in stone, wood and bronze. His style of work consists of sculptures of the human form contorted into strange positions, often described as modern and surreal.
McWilliam is born in Banbridge, County Down,on April 30, 1909, the son of Dr. William McWilliam, a local general practitioner. Growing up in Banbridge has a great influence on his work. He makes references to furniture makers such as Carson the Cooper and Proctors in his letters to his friend, Marjorie Burnett.
McWilliam attends Campbell College in Belfast and later attends Belfast College of Art from 1926. After 1928, he continues to study at the Slade School of Fine Art in London. He originally intends to become a painter, but influenced by Alfred Horace Gerrard, head of the sculpture department at the Slade, and by Henry Moore whom he meets there, he turns to sculpture. He receives the Robert Ross Leaving Scholarship which enables him and his wife, Beth (née Crowther), to travel to Paris where he visits the studio of Constantin Brâncuși.
During the first year of World War II, he joins the Royal Air Force and is stationed in England for four years where he is engaged in interpreting aerial reconnaissance photographs. He is then posted to India. While there he teaches art in the Hindu Art School in New Delhi.
After his return from India, McWilliam teaches for a year at the Chelsea School of Art. He is then invited by A. H. Gerrard to teach sculpture at the Slade. He continues in this post until 1968.
During the Northern IrelandTroubles McWilliam produces a series of bronzes in 1972 and 1973 known as Women of Belfast in response to the bombing at the Abercorn Tea-Rooms.
In 1964 McWilliam is awarded an Honorary Doctor of Letters from Queen’s University Belfast. In 1966 he is appointed CBE and in 1971 he wins the Oireachtas Gold Medal. He is represented in many public collections, including the Museum of Modern Art in New York City and Tate Britain in London. In 1984 the National Self-Portrait Gallery purchases a McWilliam self-portrait amongst acquisitions from fellow Northerners Brian Ballard, Brian Ferran and T. P. Flanagan.
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.
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.
At 6 ft. 3 in. (191 cm) and 194 lbs. (88 kg), Sheridan is the best all-around athlete of the Irish American Athletic Club, and like many of his teammates, serves from 1906 until his death in 1918 with the New York City Police Department. 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.
In 1907, Sheridan wins the National Amateur Athletic Union (AAU) 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 a bronze medal in the standing long jump at the 1908 Olympic Games.
Two of Sheridan’s gold medals from the 1904 Olympic Games in St. Louis, Missouri, and one of his medals from the 1906 Olympic Games in Athens, are currently located in the USA Track & Field‘s Hall of Fame History Gallery, in Washington Heights, Manhattan.
It is often claimed that Sheridan fueled a controversy in London in 1908, when flagbearer Ralph Rose refused to dip the flag to King Edward VII. Sheridan supposedly supports Rose by explaining, “This flag dips to no earthly king,” and it is claimed that his statement exemplified both Irish and American defiance of the British monarchy. However, careful research has shown that this was first reported in 1952. Sheridan himself makes no mention of it in his published reports on the Games and neither does his obituary.
Sheridan dies in St. Vincent’s Hospital in Manhattan, New York, on March 27, 1918, the day before his 37th birthday, 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.”
According to his obituary in The New York Times, Sheridan was “one of the greatest athletes the United States has ever known.”
(Pictured: Martin Sheridan from the historical picture collection of Knut Gulbrandsen)
Tone is born Martha Witherington in Dublin on June 17, 1769. She is the eldest daughter of merchant William Witherington and his wife Catherine (née Fanning). Her father is listed as a woolen draper on Grafton Street, Dublin, from 1768 to 1784, as a wine merchant from 1784 to 1788, and finally as a merchant from 1788 to 1793. It is claimed that he is a lieutenant in the Royal Navy and sits on the merchants’ guild on Dublin’s common council from 1777 to 1783. Her mother is a housekeeper to her father after he is widowed.
Tone receives a good education and maintains an interest in drama and literature throughout her life. Katherine Wilmot visits her in Paris in 1802 and comments on the books she has by French, Italian and English authors. When she is fifteen years old, she gets to know Wolfe Tone through her older brother. He is still a student in Trinity College Dublin, and it is he that renames her Matilda. They marry when she is just sixteen, on July 21, 1785, in St. Ann’s Church, Dublin, honeymooning in Maynooth. Upon their return they live with the Witheringtons, though they are not on good terms, and then with Wolfe Tone’s parents in Bodenstown, County Kildare.
The Tone’s first child, Maria, is born before October 1786. She is followed by a son, Richard, who is named for their neighbour Richard Griffith, who dies in infancy. Tone stays with her husband’s family while he is studying for the bar in London from 1787 to 1788. When he returns, the couple has two more sons: William Theobald Wolfe Tone, born on April 29, 1791, and Francis Rawdon Tone, born on June 23, 1793. Francis is known as Frank and is named after Francis Rawdon-Hastings. William is born in Dublin and Frank is probably born in Bodenstown. By this time, the family has a cottage in Bodenstown which Wolfe Tone had inherited from his uncle Jonathan Tone, which the family jokingly refers to as Château Boue. They live there until May 1795, when they leave for Princeton, New Jersey, due to political reasons.
Tone and her children come back to Europe to join Wolfe Tone in France eighteen months later. The family settles in Paris, at first living with Colonel Henry Shee at Nanterre, later moving to the suburb, Chaillot. She educates her children at home. Very few of her letters survive, but many of her husband’s letters and diaries are addressed or intended for her. From these and her letter to her friend Eliza Fletcher, it is clear she shares her husband’s interest in politics. Following her husband’s death in November 1798, she moves to a small apartment at 51 Rue Saint-Jacques in the Latin Quarter of Paris. This is to be close to her son William, who is attending Lycée Louis-le-Grand. She is awarded a pension of 1,200 francs for herself and 400 for each of her children after the expiration of the Treaty of Amiens on May 1, 1803.
Tone’s daughter Maria dies in April 1803, and then her son Frank dies in 1807, both of tuberculosis. William is displaying symptoms of the disease as well, which prompts her to move to the United States in 1807. From there, they attempt to sort out her husband’s affairs, which had been entrusted to James Reynolds. They retrieve only a few of Wolfe Tone’s pre-1795 diaries, and all of the post-1795 letters and diaries, which they add to the autobiography she already has in her possession. When William enters the Cavalry School at Saint-Germain-en-Laye in November 1810 as a cadet, she moves to be close to him, living at the Hôtel de la Surintendance. By approaching Napoleon in 1811, who knew Wolfe Tone, she ensures that her son receives French citizenship and the privileged status of “élève du gouvernement.” In January 1813, when William begins his service, she returns to Paris to live on the Rue de Lille and later moves to the Latin Quarter.
Following the defeat of Napoleon in June 1815, William is refused entry to Ireland or to visit Britain. This leads to both mother and son returning to the United States. Before she leaves Paris, she marries her old friend Thomas Wilson on August 19, 1816. Wilson is a Scottish businessman and advocate who has taken care of her financial affairs after the death of her husband. The couple visit Scotland, and then move to New York City in 1817, and finally to Georgetown, District of Columbia, around 1820. She lives there until her death and calls herself Matilda Tone-Wilson.
Starting in 1824, The New Monthly Magazine begins the unauthorised publication of extracts from Wolfe Tone’s autobiography. In response, Tone decides to publish all of Wolfe Tone’s papers and writing, including the autobiography, pamphlets and diaries, edited by their son William. What results is two large volumes entitled the Life of Theobald Wolfe Tone, published in May 1826. She adds a memoir of her own life in Paris following his death in 1798. The book is a best-seller, and ensures the legacy of Wolfe Tone, as well as being an important contemporary document of both Irish and French revolutionary politics.
William Tone dies in 1828, after which Tone lives more privately. She dies in Georgetown on March 18, 1849. Thomas Wilson predeceases her in 1824. Just two weeks prior to her death she is interviewed by a Young Irelander, Charles Hart. She is initially buried near William Tone at Marbury burying-ground, Georgetown. After that cemetery is sold, she is reinterred in Green-Wood Cemetery, Brooklyn, New York, on October 31, 1891, by her great-grandchildren. A new monument is dedicated to her, which is later restored in 1996.
Francis O’Neill (Irish: Proinsias Ó Néill), an Irish-born American police officer and collector of Irish traditional music, is honoured in his native West Cork on March 11, 2000, where Garda Commissioner Patrick Byrne unveils a life-size monument of O’Neill playing a flute adjacent to the O’Neill family homestead in Trawlebane, County Cork. The monument, made by sculptor Jeanne Rynhart, and a commemorative wall are erected through the efforts of the Captain Francis O’Neill Memorial Company.
O’Neill is born in Trawlebane, near Bantry, County Cork, on August 28, 1848. At an early age he hears the music of local musicians, among them Peter Hagarty, Cormac Murphy and Timothy Dowling. At the age of 16, he becomes a cabin boy on an English merchant ship and remains a seaman until 1869. On a voyage to New York City, he meets Anna Rogers, a young emigrant whom he later marries in Bloomington, Illinois. They move to Chicago, and he becomes a Chicago policeman in 1873. He rises through the ranks quickly, eventually succeeding Joseph Kipley as the Chief of Police from 1901 to 1905. He has the rare distinction, in a time when political “pull” counts for more than competence, of being re-appointed three times to the position by two different mayors.
O’Neill is a flautist, fiddler and piper and is part of the vibrant Irish community in Chicago at the time. During his time as chief, he recruits many traditional Irish musicians into the police force, including Patrick O’Mahony, James O’Neill, Bernard Delaney, John McFadden and James Early. He also collects tunes from some of the major performers of the time including Patsy Touhey, who regularly sends him wax cylinders and visits him in Chicago. He also collects tunes from a wide variety of printed sources.
O’Neill retires from the police force in 1905. After that, he devotes much of his energy to publishing the music he has collected. His musical works include:
O’Neill’s Music of Ireland (1903), containing 1,850 pieces of music.
The Dance Music of Ireland (1907), sometimes called, “O’Neill’s 1001,” because of the number of tunes included.
400 tunes arranged for piano and violin (1915).
Waifs and Strays of Gaelic Melody (1922), 365 pieces.
Irish Folk Music: A Fascinating Hobby (1910). Appendix A contains O’Farrells Treatise and Instructions on the Irish Pipes, published 1797-1800; appendix B is Hints to Amateur Pipers by Patrick J. Touhy.
Irish Minstrels and Musicians (1913), biographies of musicians, including those from whom he collected tunes in Chicago.
In 2008, Northwestern University Press issues Chief O’Neill’s Sketchy Recollections of an Eventful Life in Chicago, a non-musical memoir edited by Ellen Skerrett and Mary Lesch, a descendant of O’Neill, with a foreword by Nicholas Carolan of the Irish Traditional Music Archive. Carolan himself writes a musical biography of O’Neill, A Harvest Saved: Francis O’Neill and Irish Music in Chicago, which is published in Ireland by Ossian in 1997. An historical biography of O’Neill, The Beat Cop: Chicago’s Chief O’Neill and the Creation of Irish Music, by Michael O’Malley, is published by the University of Chicago Press in 2022.
Chief O’Neill’s life is memorialized in the musical play Music Mad: How Chief O’Neill Saved the Soul of Ireland, which premieres in Chicago in 2012. Written by Adam B. Whiteman with the approval and acceptance of Francis O’Neill’s great-granddaughter, Mary Lesch, the show contains both dramatized content and material from O’Neill’s own writings.
Peter Hagarty and Francis O’Neill are memorialized in the song, Píobaire Bán, written by Tim O’Riordan. It is recorded by Patrick O’Sullivan on the CD One More Time and on O’Riordan’s own CD Taibhse.
In August 2013, the inaugural Chief O’Neill Traditional Music Festival takes place in Bantry, County Cork, just a few miles from Trawlebane. The 2013 event marks the centenary of the publication of O’Neill’s Irish Minstrels and Musicians. The event has taken place annually since.
Chief O’Neill’s Pub and Restaurant in Chicago’s Avondale neighborhood bears his name and displays related memorabilia.
O’Neill’s biographer, Nicholas Carolan, refers to him as “the greatest individual influence on the evolution of Irish traditional dance music in the twentieth century.”
seamus dubhghaill 