There are commercially available recordings of over fifty of Wilson’s works on labels including Diatribe Records, Riverrun, RTÉ Lyric fm, Black Box, Timbre, Guild, Meridian and Chandos Records. His music is published by Ricordi (London) and Universal Edition.
In June 1919, de Valera arrives in the United States for what is to be an 18-month visit. He has recently escaped from Lincoln Gaol in England in sensational fashion, after a duplicate key is smuggled into the jail in a cake and he escapes dressed as a woman. A few months later he is a stowaway aboard the SS Lapland from Liverpool bound for America.
De Valera’s plan is to secure recognition for the emerging Irish nation, tap into the huge Irish American community for funds, and to pressurize the U.S. government to take a stance on Irish independence. Playing on his mind is the upcoming Versailles conference where the nascent League of Nations is preparing to guarantee “existing international borders” – a provision that will imply Ireland remaining within the United Kingdom.
De Valera also has a challenge in winning over PresidentWoodrow Wilson, who is less than sympathetic to Ireland’s cause.
De Valera’s interest in America is of course personal. He is born in New York City on October 14, 1882, and his U.S. citizenship is one of the reasons he is spared execution after the 1916 Easter Rising.
At first de Valera keeps a low profile in America. Though he is greeted by Harry Boland and others when he docks in New York City, he first goes to Philadelphia and stays with Joseph McGarrity, the County Tyrone-born leader of Clan na Gael and a well-known figure in Irish America. He also quietly pays a visit to his mother in Rochester, New York.
De Valera’s first major engagement is on June 23, 1919, when he is unveiled to the American public at a press conference in the Waldorf-Astoria hotel in New York City. Crowds throng the streets around the hotel, and de Valera proclaims, “I am in America as the official head of the Republic established by the will of the Irish people in accordance with the principle of self-determination.”
De Valera then embarks upon a tour across America. Vast crowds turn out to see the self-proclaimed “president of the Irish republic.” In Boston an estimated crowd of 70,000 people hear him talk in Fenway Park. In San Francisco he unveils a statute of Irish revolutionary hero Robert Emmet in Golden Gate Park.
Later in the year, de Valera holds a huge rally in Philadelphia, where he is welcomed by the mayor at Independence Hall. He also visits smaller towns and cities across the United States, and his trip garners huge press coverage – an invaluable boon for his campaign to heighten awareness of the Irish issue in America.
But difficulties soon emerged during de Valera’s visit. He becomes embroiled in a bitter split among Irish Americans. He finds himself at odds with Judge Daniel Cohalan and John Devoy, central figures in the Friends of Irish Freedom (FOIF) association. Part of the dispute centers around money. De Valera had settled on an idea for a bond sale as a way of raising money for the cause – investors would be given bond certificates that would be exchangeable for bonds of the Irish Republic once it gets international recognition. But Cohalan and Devoy, who have already raised thousands through the Friends of Irish Freedom, are opposed, concerned about the scheme’s legality for one.
De Valera’s claim in an interview that Irish-British relations can be analogous to the relationship between Cuba and America also enrages the Cohalan-Devoy camp, who accuse him of surrendering the idea of full Irish sovereignty.
De Valera’s increasingly acrimonious relationship with Cohalan and Devoy spills over into the 1920 Republican and Democratic conventions. Against the advice of Cohalan and Devoy, he advances a resolution about Irish independence which is rejected 12-1 at the Republican convention in June of that year. A rival resolution by Cohalan squeezes through but ultimately is overturned. Similarly, he fails to secure the inclusion of the Irish issue in the Democratic Party’s policy platform during the Democrats’ convention in San Francisco.
De Valera leaves the United States in December 1920 with mixed results. Though he has raised millions of dollars through the bond sale, he has made little progress in co-opting official America to Ireland’s cause. Much as division is to characterise the next chapter of his political career in Ireland, de Valera’s sojourn in America leaves Irish America more divided than it has ever been.
(From: “Éamon de Valera’s US trip that left Irish America divided” by Suzanne Lynch, The Irish Times, http://www.irishtimes.com, June 1, 2019 | Pictured: Éamon de Valera (center) in New York with Friends of Irish Freedom’s Judge Daniel Cohalan and John Devoy in July 1919, Topical Press Agency/Getty)
Cohalan graduates from Manhattan College in 1885, takes a master’s degree in 1894, and is given an honorary LL.D. in 1911. He is admitted to the bar in 1888, and practices law in New York City. In September 1889, he removes to the Bronx, practices law there, and enters politics, joining Tammany Hall, becoming an adviser to party boss Charles F. Murphy and later to John F. Curry. He is Grand Sachem of the Tammany Society from 1908 to 1911.
Cohalan is active in Democratic Party politics by 1900, drafting state party platforms and serving as a delegate to the national conventions in 1904 and 1908.
On May 18, 1911, Cohalan is appointed by Gov. John Alden Dix to the New York Supreme Court, to fill the vacancy caused by the election of James Aloysius O’Gorman as U.S. Senator from New York. In November 1911, he is elected to succeed himself. On December 28, 1923, he tenders his resignation, to become effective on January 12, 1924, claiming that the annual salary of $17,500 is not enough to provide for his large family.
Cohalan is a close associate of Irish revolutionary leader John Devoy and is influential in many Irish American societies including Clan na Gael. He helps to form the Sinn Féin League in 1907 and is a key organiser of the Irish Race Convention and the Friends of Irish Freedom (FOIF) on March 4-5, 1916. He is involved with the financing and planning of the Easter Rising in Dublin and is instrumental in sending Roger Casement to Germany in 1914. He is Chairman of the Irish Race Convention held in Philadelphia on February 22-23, 1919, and active in the Friends of Irish Freedom (1916–34).
When the United States enters World War I, Cohalan’s earlier work to obtain German assistance for Ireland becomes a liability, but he urges Irish Americans to support the war effort and to insist that self-determination for Ireland be included among the war aims. He opposes the peace treaty and the League of Nations and leads an Irish American delegation to the United States Senate Committee on Foreign Relations hearings, contributing to the defeat of the treaty in the Senate.
State Senator John P. Cohalan (1873–1950) is one of Cohalan’s eleven siblings, and church historian Monsignor Florence Daniel Cohalan (1908–2001) is one of his nine children.
O’Brien is the youngest child of “a strict, religious family.” From 1941 to 1946 she is educated by the Sisters of Mercy, a circumstance that contributes to a “suffocating” childhood. “I rebelled against the coercive and stifling religion into which I was born and bred. It was very frightening and all pervasive. I’m glad it has gone.” She is fond of a nun as she deeply misses her mum and tries to identify the nun with her mother.
In 1950, O’Brien is awarded a licence as a pharmacist. In Ireland, she reads such writers as Leo Tolstoy, William Makepeace Thackeray, and F. Scott Fitzgerald. In 1954, she marries, against her parents’ wishes, the Irish writer Ernest Gébler and the couple moves to London. They have two sons, but the marriage is dissolved in 1964. Gébler dies in 1998.
In London, O’Brien purchases Introducing James Joyce, with an introduction written by T. S. Eliot. When she learns that James Joyce‘s A Portrait of the Artist as a Young Man is autobiographical, it makes her realise where she might turn, should she decide to write herself. In London she starts work as a reader for Hutchinson, where on the basis of her reports she is commissioned, for £50, to write a novel. Her first novel, The Country Girls (1960), is often credited with breaking silence on sexual matters and social issues during a repressive period in Ireland following World War II.
This novel is the first part of a trilogy of novels which includes The Lonely Girl (1962) and Girls in Their Married Bliss (1964). Shortly after their publication, these books are banned and, in some cases burned, in her native country due to their frank portrayals of the sex lives of their characters. Her novel A Pagan Place (1970) is about her repressive childhood. Her parents are vehemently against all things related to literature and her mother strongly disapproves of her daughter’s career as a writer.
O’Brien is a panel member for the first edition of the BBC‘s Question Time in 1979. In 2017, she becomes the sole surviving member.
Other works include a biography of James Joyce, published in 1999, and one of the poet Lord Byron, Byron in Love (2009). House of Splendid Isolation (1994), her novel about a terrorist who goes on the run, marks a new phase in her writing career. Down by the River (1996) concerns an under-age rape victim who seeks an abortion in England, the “Miss X case.” In the Forest (2002) deals with the real-life case of Brendan O’Donnell, who abducts and murders a woman, her three-year-old son, and a priest, in rural Ireland.
Luby is born in Dublin on January 16, 1822, the son of a Church of Ireland clergyman from Templemore, County Tipperary, his mother being a Catholic. He is educated at Trinity College Dublin where he studies law and puts in the necessary number of terms in London and Dublin where he acquires a reputation as a scholar and takes his degree. He goes on to teach at the college for a time.
In 1851 Luby travels to France, where he hopes to join the French Foreign Legion to learn infantry tactics but finds the recruiting temporarily suspended. From France he goes to Australia for a year before returning to Ireland. From the end of 1855 he edits the Tribune newspaper founded by John E. Pigot who had been a member of The Nation group. During this time, he remains in touch with the small group of ’49 men including Philip Gray and attempts to start a new revolutionary movement. Luby’s views on social issues grow more conservative after 1848 which he makes clear to James Stephens whom he meets in 1856.
In the autumn of 1857 Owen Considine arrives with a message signed by four Irish exiles in the United States, two of whom are John O’Mahony and Michael Doheny. The message conveys the confidence they have in Stephens and asks him to establish an organisation in Ireland to win national independence. Considine also carries a private letter from O’Mahony to Stephens which is a warning, and which is overlooked by Luby and Stephens at the time. Both believe that there is a strong organisation behind the letter, only later to find it is rather a number of loosely linked groups. On December 23, Stephens dispatches Joseph Denieffe to America with his reply which is disguised as a business letter dated and addressed from Paris. In his reply, Stephen’s outlines his conditions and his requirements from the organisation in America.
On March 17, 1858, Denieffe arrives in Dublin with the acceptance of Stephens’s terms by the New York Committee and the eighty pounds. On that very evening the Irish Republican Brotherhood is established in Peter Langan’s timberyard in Lombard Street.
In mid-1863 Stephens informs his colleagues he wishes to start a newspaper, with financial aid from O’Mahony and the Fenian Brotherhood in America. The offices are established at 12 Parliament Street, almost at the gates of Dublin Castle. The first issue of the Irish People appears on November 28, 1863. The staff of the paper along with Luby are Charles J. Kickham and Denis Dowling Mulcahy as the editorial staff. Jeremiah O’Donovan Rossa and James O’Connor have charge of the business office, with John Haltigan being the printer. John O’Leary is brought from London to take charge in the role of Editor.
On July 15, 1865, American-made plans for a rising in Ireland are discovered. Superintendent Daniel Ryan, head of the G Division of the Dublin Metropolitan Police at Dublin Castle, has an informer within the offices of the Irish People who supplies him with an “action this year” message on its way to the IRB unit in Tipperary. With this information, Ryan raids the offices of the Irish People on Thursday, September 15, followed by the arrests of Luby, O’Leary and O’Donovan Rossa. Kickham is caught after a month on the run. Stephens is also caught with the support of Fenian prison warders. The last number of the paper is dated September 16, 1865.
After his arrest and the suppression of the Irish People, Luby is sentenced to twenty years of penal servitude. He is released in January 1871, but is compelled to remain away from Ireland until the expiration of his sentence.
Upon his release Luby goes first to the Continent and later settles in New York City. He lectures all over the country for years and writes for a number of Irish newspapers on political topics. At the memorial meeting on the death of John Mitchel, he delivers the principal address in Madison Square Garden.
Thomas Clarke Luby dies at 109½ Oak Street, Jersey City, New Jersey of paralysis, on November 29, 1901, and is buried in a grave shared with his wife in Bayview Cemetery in Jersey City. His epitaph reads: “Thomas Clarke Luby 1822–1901 He devoted his life to love of Ireland and quest of truth.”
Edwards is born in London on February 2, 1903. He begins his career acting with the Charles Doran Shakespeare Company in 1920 in Windsor and then joins The Old Vic in London, playing in all but two of Shakespeare‘s plays before leaving the company a few years later. Trained in music, he also sings baritone roles with the Old Vic Opera company.
After touring with various companies in Britain and South Africa, Edwards goes to Ireland in 1927 for a season with Anew McMaster‘s company and meets McMaster’s brother-in-law, Micheál Mac Liammóir. As he tells an interviewer once, both men want a theater of their own. Mac Liammóir wants it to be in Ireland and Edwards does not care. “I don’t care about nationalism, I care about the theater,” he says.
In New York City in 1948 Edwards plays in and directs John Bull’s Other Island and directs The Old Lady Says No and Where Stars Walk. In 1961, Edwards takes a two-year leave from the Gate to become the first Head of Drama at Telefís Éireann. A year later, he wins a Jacob’s Award for his television series Self Portrait.
Hilton Edwards dies in a Dublin hospital on November 18, 1982. Edwards and Mac Liammóir are the subject of a biography, titled The Boys by Christophor Fitz-Simon.
The opera is originally prepared for the English Opera House but for some reason the theatrical manager, Samuel James Arnold, does not want it. Instead, Alfred Bunn, the manager of Drury Lane Theatre, seizes the opportunity and begins what is a very fruitful collaboration with Balfe that lasts a decade. Balfe is to become the mainstay of English Opera for almost the next 30 years with a succession of popular operas.
The opera runs for 70 nights on its initial run and is revived in the following three seasons with Balfe singing the role of Michel. Queen Victoria sees the opera on November 15, 1837, her first state visit to a theatre during her reign. In 1836, the opera is reported as staged in Leeds, York, Sheffield, Manchester, Liverpool, Bath and Dublin with Abigail Betts as Clara. John Wilson, who sings in the initial run of the opera, also sings in, at least, some of these. Madame Balfe chooses the opera for her benefit in 1841, and Bunn opens his 1843 season with it on September 30. Emma Romer uses it to open her 1853 season at the Surrey Theatre, although it is being described by then as “somewhat hacknied.”
October 1875 sees a revival of the opera by the Carl Rosa Opera Company at the Princess’s Theatre, and it is then included in the company’s repertoire that tours to Manchester in 1875, Liverpool in 1876, Birmingham in 1877 and Dublin in 1879. The Turner Company tours it in 1893. This is possibly the opera’s last performance until the Wexford Festival Opera performances in 1963. The overture and songs from the opera, such as “When I beheld the anchor weigh’d” continue to retain a place in the concert hall and the home into the 20th century.
In 1838, the opera is performed by the Caradori-Allan troupe at the Park Theatre in New York but fails although it appears to be retained in the repertory. In 1839, it is performed again in Dublin with Balfe as Michel and in Sydney in 1848.
The opera’s production sparks an acrimonious argument between a correspondent in The Examiner accusing Balfe of plagiarism from Luigi Ricci‘s 1832 opera, Chiara di Rosemberg, and, in defence, Frederick Beale, from Balfe’s publishers, and Balfe. The matter seems to be settled in Balfe’s favour when the score of Chiara di Rosemberg is displayed at music publisher Cramer, Beale and Co. so that people can compare the two for themselves. While Edward Fitzball probably uses Ricci’s libretto as the basis for his, it does not seem to have been a straight translation, as some allege, but similarities would help to feed the accusations of plagiarism, bolstered by the Italian training and approach of both composers and the fact that Balfe had sung in Chiara di Rosemberg in Italy in 1834.
Balfe is said to have been paid £5 a night by Bunn and 400 guineas for the score by the publishers Cramer, Beale and Co. In 1871, the Bury and Norwich Post (April 11, 1871) report that the copyright has sold for £156 and just over ten years later the AberdeenEvening Express (May 8, 1883) notes that the copyright has been sold again for approximately £20, adding “So much for Balfe’s ‘popularity.”
Five days earlier, Corcoran refuses tickets to a ball in the prince’s honor, telling those who invited him that he is “not desirous of joining in the festivity.”
As for the order to march, Corcoran says he refuses to ask the sons of Erin to honor the son of “a sovereign under whose reign Ireland was made a desert and her sons forced to exile.” He is also heard to refer to the prince as “the bald-faced son of our oppressor.”
Corcoran’s actions cause a firestorm of outrage around the country and especially in New York. U.S. citizens, most completely ignorant of the conditions under which many of these men had lived in British-controlled Ireland, see the actions of the men of the 69th Infantry Regiment as an insult to American hospitality in welcoming these immigrants to their adopted country, though in truth, the welcome is much less than lukewarm.
Corcoran has written his name forever in the pantheon of Irish heroes in America. New York’s Irish present the regiment with a green flag commemorating the event.
Corcoran is arrested and stripped of his command by New York and a court martial is planned. But before he can be tried on the charge, Fort Sumter is fired upon, and the country is more worried about saving the Union than honoring visiting princes. With the outbreak of war, the court martial is dropped and Corcoran is restored to his command because he had been instrumental in bringing other Irish immigrants to the Union cause.
Corcoran leads the 69th Infantry Regiment to Washington, D.C. and serves for a time in the Washington defenses building Fort Corcoran. On July 21, 1861, he leads the regiment into action at the First Battle of Bull Run with what is now called the “Prince of Wales Flag” flying proudly above his men.
After promotion to brigadier general, Corcoran leaves the 69th Infantry Regiment and forms the Corcoran Legion, consisting of at least five other New York regiments.
The Mayor of New York City, Michael Bloomberg, unveils Ireland’s national monument to the Fighting 69th in Ballymote, County Sligo, on August 22, 2006. The monument is sculpted by Philip Flanagan. The inscription around the top of the monument reads “Michael Corcoran 1827–1863” Around the base is inscribed “New York Ballymote Creeslough Bull Run.” Underneath the monument is a piece of steel from the World Trade Center, donated by the family of Michael Lynch, who died in the tower on September 11, 2001. Lynch’s family are from County Sligo.
(Pictured: Michael Corcoran, Irish American general in the Union Army during the American Civil War and a close confidant of President Abraham Lincoln)
McCourt is the son of Irish parents Angela (née Sheehan) and Malachy McCourt. He is the last survivor of their seven offspring, following the death of his younger brother Alphonsus in 2016. He is raised in Limerick, County Limerick, and returns to the United States in 1952. He has four children: Siobhán, Malachy III, Conor, and Cormac, the latter two by his second wife, Diana. He also has a stepdaughter, Nina. He is portrayed by Peter Halpin in the film version of his brother’s memoir Angela’s Ashes. He is also one of the four founding members of the Manhattan Rugby Football Club in 1960. He appears in Frank McCourt’s memoirs.
In 1970, McCourt releases an album, And the Children Toll the Passing of the Day. Also, in the 1970s he hosts a talk show on WMCA.
In recent years McCourt occasionally appears on various programs on New York City’s political radio station, WBAI. Among the shows on which he appears is Radio Free Éireann. He is also a regular guest artist at the Scranton Public Theatre in Pennsylvania, having performed in Inherit the Wind, Love Letters and A Couple of Blaguards, which he co-wrote with brother Frank McCourt. Currently, he has been hosting a call-in radio forum on WBAI, airing on Sunday mornings at 11:00 a.m. He also has a short-lived role as a Catholic priest on the HBO prison drama Oz. He is the owner of Malachy’s, a bar on Third Avenue in New York City. One of his frequent patrons was actor, and friend, the late Richard Harris, who although famous works for a short time behind the bar for McCourt. He plays Francis Preston Blair in Gods and Generals (2003).
McCourt has written two memoirs titled, respectively, A Monk Swimming and Singing My Him Song, detailing his life in Ireland and his later return to the United States. He has also authored a book on the history of the ballad Danny Boy, and put together a collection of Irish writings, called Voices of Ireland.
On April 18, 2006, McCourt announces that he will run as a Green Party candidate to become governor of New York in the November 2006 election. Running under the slogan “Don’t waste your vote, give it to me,” he promises to recall the New York National Guard from Iraq, to make public education free through college, and to institute a statewide comprehensive “sickness care” system. He polls at 5% in an October 10 Zogby poll, versus 25% for RepublicanJohn Faso and 63% for Democrat Eliot Spitzer. He is endorsed by Cindy Sheehan, mother of a fallen soldier in the Iraq War. The League of Women Voters exclude him from the gubernatorial debate. He comes in a distant third in the general election, receiving 40,729 votes (or just under 1%), 9,271 votes short of what is required to gain automatic access in the 2010 election.
Shiels is born on June 24, 1881, in Milltown, Ballybrakes, near Ballymoney, County Antrim, one of seven sons of Robert Shiels, a railway worker, and Eliza Shiels (née Sweeney), who also has one daughter. The family soon moves to Castle Street, Ballymoney, where he attends the local Roman Catholicnational school. His elder brothers emigrate to the United States when young. With there being no chance of further schooling even if he wanted it, he leaves Ireland when he is 19 years old. He works as a casual labourer in many places in western North America: as a farmworker and miner in Idaho and Montana, and as a lumber camp worker in British Columbia, Canada. In 1904 he is employed by the Canadian Pacific Railway to supervise a gang of workers who are building a stretch of railway in Saskatchewan. In a serious accident, he is badly injured. Despite surgery on his back, he is never able to walk again, and he receives a disability pension from the railway company.
After a long convalescence in Canada, Shiels returns to his mother’s house in Ballymoney around 1908. He sets up in business in Main Street as a shipping agent and as an agent for the Canadian Pacific Railway, taking bookings from intending emigrants. He is encouraged by his parish priest, Fr. John Hasson, by a local solicitor, Jack Pinkerton, and by James Pettigrew, a teacher, to write short stories. To try to preserve anonymity in a small community, he at first uses the pseudonym “George Morshiel,” and is successful with Western stories and other short fiction. His friends urge him to try writing dramas, and in 1918 Away from the Moss is produced by the Ulster Literary Theatre in Belfast.
After further success there with two short plays in which Shiels is learning his craft, the Abbey Theatre in Dublin accepts a one-act play, Bedmates, which is performed in January 1921. With great regularity for the next twenty years, he writes twenty-two plays for the Abbey Theatre. His work forms the basis of the repertoire in the 1920s and 1930s and attracts large audiences. Plays such as The New Gossoon (1930) provide Dublin theatregoers with entertainment, but also help form the style of acting and production which for many years characterises the Abbey and its actors. Three of his plays, Paul Twyning (1922), Professor Tim (1925) and The New Gossoon, are later performed in theatres in London and are also published in a 1945 volume, which is twice reprinted. Professor Tim, produced by the touring Abbey Theatre, receives enthusiastic reviews in Philadelphia, and The New Gossoon appears successfully on Broadway in New York City in 1932, 1934, and 1937.
Shiels’s earlier work is perhaps easiest for audiences to enjoy. Comedies such as Moodie in Manitoba (1918) portray characters so realistic that north Antrim people believe with some alarm that it might be possible to identify who Shiels had in mind when he created them, and he is at first somewhat less than popular in Ballymoney. He superbly reproduces local language and thoroughly understands the local way of life. Plays he writes late in his career are first performed by the Group Theatre in Belfast, and in these productions (and in the radio versions broadcast by the BBC) his work becomes widely known, almost beloved, in the north of Ireland. During the first half of the twentieth century amateur drama groups throughout Ireland are much more important in local life than they have been since the advent of television. Probably all such societies have at some time staged a Shiels play, and this tradition continues. His plays contain amusing dialogue, carefully crafted plots, and usually more or less happy endings.
However, Shiels’s later works, notably The Passing Day (1936), first broadcast as a radio play, and The Rugged Path (1940), which breaks all records at the Abbey Theatre in a run of three months, tackle darker subject matter and feature characters still less sympathetic even than the rogues and hypocrites of the earlier work. In The Rugged Path and its sequel, The Summit (1941), he explores the moral crisis facing Ireland after the political changes of the 1920s. One critic sees in it an allegory for the contemporary struggle against Adolf Hitler. His view of life in the small towns and farms of Ireland is never in the slightest rosy-tinted, but in the symbolism of The Passing Day, he achieves “bitter intensity” (The Irish Times review, quoted by Casey).
Shiels’s modesty leads him to refuse an honorary doctorate from Queen’s University Belfast (QUB), in 1931. He is reticent about his experiences and beliefs and does little to foster his own reputation. In one early interview he expresses the belief that Ulster theatre needs dramatic material that reflects the psychology and setting of the region. His own work, at its best, achieves this and more. The very qualities which make his work popular in the north of Ireland permit some metropolitan literary critics to dismiss his plays as “kitchen comedies.” However, with the passage of time, his importance as a chronicler of a vanishing way of life can be set alongside the recognition due to him as a prolific and gifted dramatist.
Shiels suffers from a lengthy illness, and though he undergoes an operation in Ballymoney in 1949, dies soon afterwards at his house, New Lodge, in Carnlough, County Antrim, on September 19, 1949. He is buried in the graveyard of Our Lady and St. Patrick in Ballymoney. In the month that he dies, the Group Theatre and Garvagh Young Farmers’ Club are both rehearsing Shiels plays, and there have since been many productions of his plays in the north and elsewhere. Ballymoney Drama Festival presents a portrait of Shiels to the Abbey Theatre, and a new production of The Passing Day is staged there to celebrate his centenary in 1981.
seamus dubhghaill 