Rynhart is born Jeanne Scuffil in Dublin on March 17, 1946, to Kathleen Connolly and Frederick Scuffil, a sign writer for the Guinness Brewery. She is an apprentice to George Collie RHA for two years and then attends the National College of Art and Design, graduating in 1969 before moving to Coventry, England, where she continues her studies in fine art and sets up a studio with sculptor John Letts. She returns to Ireland in 1981, moving to Ballylickey, near Bantry in County Cork, where she establishes the Rynhart Fine Art gallery and workshop with her husband, Derek.
One of the first bronze craft studios in Ireland, the Rynhart pieces include both small figurative cold cast bronze sculptures of flower sellers, fishermen, horses, sailing boats and musical instruments as well as bronze life-size statues, smelted in a foundry. Her busts of Oscar Wilde and Jonathan Swift are in the Dublin Writers Museum and a Rynhart bust of James Joyce is in New York Public Library.
Rynhart creates the Molly Malone statue for the 1988 Dublin Millennium celebrations. The statue is controversial at the time of its unveiling due to the statue’s revealing dress. Registrar of Aosdána, Adrian Munnelly, writes to the An Bord Fáilte criticising it. The statue is defended by the Lord Mayor of DublinBen Briscoe. Rynhart herself writes in The Irish Times that the clothing and appearance are accurate for women of that era. The statue has since become one of the most popular tourist attractions in Dublin and is fondly regarded by locals.
In 1994, Rynhart’s daughter Audrey joins the business. In 2010, Audrey and her husband, Les Elliott, take over the running of the business which is now based in their studio in Glengarriff, County Cork. From then onwards, Rynhart continues to do some modelling work but has largely retired.
Rynhart dies on June 9, 2020, aged 74, in Schull Community Hospital, Cork, following a short illness. She is buried in the Abbey Cemetery, Bantry, and is survived by her husband, Derek, daughter, Audrey, son, Barry, and grandchildren, Lydia and Sophie.
Jane is the last of the four children of Charles Elgee, the son of Archdeacon John Elgee, a Wexford solicitor, and his wife Sarah (née Kingsbury). Her great-grandfather is an Italian who had come to Wexford in the 18th century. She has a special interest in Irish folktales, which she helps to gather. She marries Sir William Wilde on November 12, 1851, and they have three children, William Charles Kingsbury Wilde (1852–1899), Oscar Fingal O’Flahertie Wills Wilde (1854–1900), and Isola Francesca Emily Wilde (1857–1867).
Wilde, who is the niece of Charles Maturin, writes for the Young Ireland movement of the 1840s, publishing poems in The Nation under the pseudonym of “Speranza.” Her works include pro-Irish independence and anti-British writing. She is sometimes known as “Speranza of the Nation.” Charles Gavan Duffy is the editor when “Speranza” writes commentary calling for armed revolution in Ireland. The authorities at Dublin Castle shut down the paper and bring the editor to court. Duffy refuses to name who has written the offending article. “Speranza” reputedly stands up in court and claims responsibility for the article. The confession is ignored by the authorities. But in any event the newspaper is permanently shut down by the authorities.
Wilde is an early advocate of women’s rights, and campaigns for better education for women. She invites the suffragistMillicent Fawcett to her home to speak on female liberty. She praises the passing of the Married Women’s Property Act 1882, preventing women from having to enter marriage “as a bond slave, disenfranchised of all rights over her fortune.”
William Wilde is knighted in January 1864, but the family celebrations are short-lived, for in the same year Sir William and Lady Wilde are at the centre of a sensational Dublin court case regarding a young woman called Mary Travers, the daughter of a colleague of Sir William’s, who claims that he had seduced her and who then brings an action against Lady Wilde for libel. Mary Travers wins the case and costs of £2,000 are awarded against Lady Wilde. Then, in 1867, their daughter Isola dies of fever at the age of nine. In 1871 the two illegitimate daughters of Sir William are burned to death and in 1876 Sir William himself dies. The family discovers that he is virtually bankrupt.
Lady Wilde leaves Dublin for London in 1879, where she joins her two sons, Willie, a journalist, and Oscar, who is making a name for himself in literary circles. She lives with her older son in poverty, supplementing their meagre income by writing for fashionable magazines and producing books based on the researches of her late husband into Irish folklore.
Lady Wilde contracts bronchitis in January 1896 and, dying, asks for permission to see Oscar, who is in prison. Her request is refused. It is claimed that her “fetch” appears in Oscar’s prison cell as she dies at her home, 146 Oakley Street, Chelsea, on February 3, 1896. Willie Wilde, her older son, is penniless, so Oscar pays for her funeral, which is held on February 5, at Kensal Green Cemetery in London. A headstone proves too expensive and she is buried anonymously in common ground. A monument to her, in the form of a Celtic cross, is erected at Kensal Green Cemetery by the Oscar Wilde Society in 1999.
Doyle studies piano from the age of nine. After leaving school he attends the Royal Irish Academy of Music for three years, studying composing, during which time he is awarded two composition scholarships. He also studies at the Institute of Sonology at Utrecht University in the Netherlands and the Finnish Radio Experimental Music Studio on scholarships.
As a performer Doyle begins as a drummer with the groups Supply Demand and Curve and Jazz Therapy, playing free improvisatory and fusion music. He releases his first LP, Oizzo No, in 1975, and his second, Thalia, in 1978 on CBS Classics. Rapid Eye Movements (1981) is his third LP, and his attempt at a “masterpiece before the age of thirty.”
Doyle begins his magnum opus, Babel, in 1989, a 5-CD set that takes ten years to compose. Each track corresponds to a ‘room’ or place within an imagined giant tower city, a kind of aural virtual reality. It celebrates the multiplicity of musical language. One hundred three pieces of music are composed for it and he works with 48 collaborators. From 2002 to 2007 he works on the three-volume electronic work Passades. Twenty-seven albums of his music have been released. He has also composed scores for several films including Budawanny, Pigs and the documentary Atlantean by Bob Quinn.
In 2013 Doyle founds META Productions with opera director Eric Fraad, committed to exploring new forms of opera for the 21st century. Their first production is the electronic opera Heresy. Originally titled The Death by Fire of Giordano Bruno, a 40-minute ‘in development’ version is performed as part of a fully staged concert of his works at both the Kilkenny Arts Festival and in the Dublin Theatre Festival 2013. The two hour Heresy is presented as part of ‘Project 50’, a season of work celebrating 50 years of Project Arts Centre in November 2016. The opera is based on episodes from the life and works of Giordano Bruno. It is broadcast on RTÉ Lyric fm in September 2017 and released as a double album on Heresy records in 2018. Recent album releases are The Thousand Year Old Boy (2013), Time Machine (2015), Frail Things In Eternal Places (2016), and The Heresy Ostraca (2019).
Doyle founds the music theatre company Operating Theatre with Irish actress Olwen Fouéré. They produce many important site-specific productions, including Passades, Here Lies and Angel/Babel, all featuring his music as an equal partner in the theatrical environment. Operating Theatre performs in conventional and site-specific venues in Ireland, England, the Netherlands, France, Venezuela and the United States and releases several records. With Icontact Dance Company, he produces Tower of Babel – Delusional Architecture, featuring as much of Babel as he has composed by that point. This work is originally performed in a whole wing of the Irish Museum of Modern Art in 1992. Arguably his most famous theatre work is the music he wrote and performs on piano onstage for the Steven Berkoff version of the Oscar Wilde play Salome which plays in Dublin‘s Gate Theatre, in London‘s West End and on three world tours. The Irish Times notes that “his name is revered in the realm of theatre.”
Doyle’s works Four Sketches and All the Rage are awarded second and first prizes in the Dublin Symphony Orchestra composition competition in 1970 and 1974 respectively. He has won the Programme Music Prize (1997) and the Magisterium Award (2007) at the Bourges International Electro-Acoustic Music Competition in Bourges, France. He also receives the Irish Arts Council‘s Marten Toonder Award in 2000 in recognition of his innovative work as a composer. He is a member of Aosdána, and has recently been made Adjunct Professor of Music at Trinity College Dublin.
PresidentMichael D. Higgins confers the honour of Saoi on Doyle on August 16, 2019 by placing a gold torc around his neck. This is the highest honour of Aosdána that can be bestowed by fellow Aosdána members. No more than seven living members can be so honoured at one time. The Irish Times describes his album Chalant – Memento Mori as “a richly rewarding work that runs the full, glorious gamut of human emotion.” It is Album of the Week on March 30, 2012 in the same paper.
Oscar Wilde languishes in jail as his play Salomé opens in Paris on February 11, 1896. Salomé is a one act play based on the biblical tale of Salomé, stepdaughter of the tetrarchHerod Antipas, who asks for the head of Jokanaan (John the Baptist) on a platter as a reward for dancing the Dance of the Seven Veils. The original 1891 version of the play is in French. Three years later an English translation, with illustrations by Aubrey Beardsley, is published.
Rehearsals for the play’s debut on the London stage, for inclusion in Sarah Bernhardt‘s London season, begin in 1892, but are halted when the Lord Chamberlain‘s licensor of plays bans Salomé on the basis that it is illegal to depict Biblical characters on the stage. The play eventually premiers on February 11, 1896, while Wilde is in prison, in Paris at the Théâtre de la Comédie-Parisienne in a staging by Lugné-Poe‘s theatre group, the Théâtre de l’Œuvre.
In The Pall Mall Gazette of June 29, 1892 Wilde explains why he had written Salomé in French:
“I have one instrument that I know I can command, and that is the English language. There was another instrument to which I had listened all my life, and I wanted once to touch this new instrument to see whether I could make any beautiful thing out of it. […] Of course, there are modes of expression that a Frenchman of letters would not have used, but they give a certain relief or colour to the play. A great deal of the curious effect that Maeterlinck produces comes from the fact that he, a Flamand by grace, writes in an alien language. The same thing is true of Rossetti, who, though he wrote in English, was essentially Latin in temperament.”
A performance of the play is arranged by the New Stage Club at the Bijou Theatre in Archer Street, London, on May 10 and 13, 1905, starring Millicent Murby as Salomé and directed by Florence Farr. In June 1906 the play is presented privately with A Florentine Tragedy by the Literary Theatre Society at King’s Hall, Covent Garden. The Lord Chamberlain’s ban is not lifted for almost forty years. The first public performance of Salomé in England is produced by Nancy Price at the Savoy Theatre on October 5, 1931. She takes the role of Herodias herself and casts her daughter, Joan Maude, as Salomé.
Harris’s father, Thomas Vernon Harris, is a naval officer from Fishguard, Pembrokeshire, Wales. While living with his older brother he is, for a year or more, a pupil at The Royal School, Armagh. At the age of twelve he is sent to Wales to continue his education as a boarder at the Ruabon Grammar School in Denbighshire, a time he is to remember later in My Life and Loves. He is unhappy at the school and runs away within a year.
Harris runs away to the United States in late 1869, arriving in New York City virtually penniless. The 13-year-old takes a series of odd jobs to support himself, working first as a shoeshiner, a porter, a general laborer, and a construction worker on the erection of the Brooklyn Bridge. He later turns these early occupational experiences into art, incorporating tales from them into his book The Bomb (1908).
From New York Harris moves to Chicago, where he takes a job as a hotel clerk and eventually a manager. Owing to Chicago’s central place in the meat packing industry, he makes the acquaintance of various cattlemen, who inspire him to leave the big city to take up work as a cowboy. He eventually grows tired of life in the cattle industry and enrolls at the University of Kansas, where he studies law and earns a degree, gaining admission to the Kansas Bar Association.
Harris is not cut out to be a lawyer and soon decides to turn his attention to literature. He returns to England in 1882, later traveling to various cities in Germany, Austria, France, and Greece on his literary quest. He works briefly as an American newspaper correspondent before settling down in England to seriously pursue the vocation of journalism.
From 1908 to 1914 Harris concentrates on working as a novelist, authoring a series of popular books such as The Bomb, The Man Shakespeare, and The Yellow Ticket and Other Stories. With the advent of World War I in the summer of 1914, he decides to return to the United States.
From 1916 to 1922 Harris edits the U.S. edition of Pearson’s Magazine, a popular monthly which combines short story fiction with socialist-tinted features on contemporary news topics. One issue of the publication is banned from the mails by United States Postmaster GeneralAlbert S. Burleson during the period of American participation in World War I. Despite this Harris manages to navigate the delicate situation which faces the left wing press and keeps Pearson’s Magazine functioning and solvent during the war years.
Harris becomes an American citizen in April 1921. In 1922 he travels to Berlin to publish his best-known work, his four volume autobiography My Life and Loves (1922–1927). It is notorious for its graphic descriptions of his purported sexual encounters and for its exaggeration of the scope of his adventures and his role in history. A fifth volume, supposedly taken from his notes but of doubtful provenance, is published in 1954, long after his death.
Harris also writes short stories and novels, two books on William Shakespeare, a series of biographical sketches in five volumes under the title Contemporary Portraits and biographies of his friends Oscar Wilde and George Bernard Shaw. His attempts as a playwright are less successful. Only Mr. and Mrs. Daventry (1900), which is based on an idea by Oscar Wilde, is produced on the stage.
Beckett is born on Good Friday, April 13, 1906, in Foxrock, Dublin. His father, William Frank Beckett, works in the construction business and his mother, Maria Jones Roe, is a nurse. Beckett attends Earlsfort House School in Dublin and then, at age 14, he goes to Portora Royal School, the same school attended by Oscar Wilde. He receives his Bachelor’s degree from Trinity College, Dublin in 1927. In his youth he periodically experiences severe depression keeping him in bed until mid-day. This experience later influences his writing.
In 1928, Beckett finds a welcome home in Paris where he meets and becomes a devoted student of James Joyce. In 1931, he embarks on a restless sojourn through Great Britain, France and Germany. He writes poems and stories and does odd jobs to support himself. On his journey, he comes across many individuals who inspire some of his most interesting characters.
In 1937, Beckett settles in Paris. Shortly thereafter, he is stabbed by a pimp after refusing his solicitations. While recovering in the hospital, he meets Suzanne Dechevaux-Dumesnuil,a piano student in Paris. The two become life-long companions and eventually marry. After meeting with his attacker, Beckett drops the charges, partly to avoid the publicity.
During World War II, Beckett’s Irish citizenship allows him to remain in Paris as a citizen of a neutral country. He fights in the resistance movement until 1942 when members of his group are arrested by the Gestapo. He and Suzanne flee to the unoccupied zone until the end of the war.
After the war, Beckett is awarded the Croix de Guerre for bravery during his time in the French resistance. He settles in Paris and begins his most prolific period as a writer. In five years, he writes Eleutheria, Waiting for Godot, Endgame, the novels Molloy, Malone Dies, The Unnamable, and Mercier et Camier, two books of short stories, and a book of criticism.
Beckett’s first publication, Molloy, enjoys modest sales, but more importantly praise from French critics. Soon, Waiting for Godot, achieves quick success at the small Theatre de Babylone putting Beckett in the international spotlight. The play runs for 400 performances and enjoys critical praise.
Beckett writes in both French and English, but his most well-known works, written between World War II and the 1960s, are written in French. Early on he realizes his writing has to be subjective and come from his own thoughts and experiences. His works are filled with allusions to other writers such as Dante Alighieri, René Descartes, and James Joyce. Beckett’s plays are not written along traditional lines with conventional plot and time and place references. Instead, he focuses on essential elements of the human condition in dark humorous ways. This style of writing has been called “Theater of the Absurd” by Martin Esslin, referring to poet Albert Camus’ concept of “the absurd.” The plays focus on human despair and the will to survive in a hopeless world that offers no help in understanding.
The 1960s are a period of change for Beckett. He finds great success with his plays across the world. Invitations come to attend rehearsals and performances which lead to a career as a theater director. In 1961, he secretly marries Suzanne Dechevaux-Dumesnuil who takes care of his business affairs. A commission from the BBC in 1956 leads to offers to write for radio and cinema through the 1960s.
Beckett continues to write throughout the 1970s and 1980s, mostly in a small house outside Paris. There he can give total dedication to his art of evading publicity. In 1969, he is awarded the Nobel Prize in Literature, though he declines accepting it personally to avoid making a speech at the ceremonies. However, he should not be considered a recluse. He often times meets with other artists, scholars and admirers to talk about his work.
By the late 1980s, Beckett is in failing health and is moved to a small nursing home. His wife Suzanne dies on July 17, 1989. His life is confined to a small room where he receives visitors and writes. Suffering from emphysema and possibly Parkinson’s disease, he dies on December 22, 1989.
Wilde is born on October 16, 1854 at 21 Westland Row, Dublin (now home of the Oscar Wilde Centre, Trinity College), the second of three children born to Anglo-Irish Sir William Wilde and Jane Wilde, two years behind his brother William. His parents are successful Anglo-Irish intellectuals in Dublin. He learns to speak fluent French and German. At university, he reads Greats. He demonstrates himself to be an exceptional classicist, first at Trinity College Dublin, then at Magdalen College, Oxford. He becomes associated with the emerging philosophy of aestheticism, led by two of his tutors, Walter Pater and John Ruskin. After university, he moves to London into fashionable cultural and social circles.
As a spokesman for aestheticism, Wilde tries his hand at various literary activities: he publishes a book of poems, lectures in the United States and Canada on the new “English Renaissance in Art” and interior decoration, and then returns to London where he works prolifically as a journalist. Known for his biting wit, flamboyant dress and glittering conversational skill, he becomes one of the best-known personalities of his day.
At the turn of the 1890s, Wilde refines his ideas about the supremacy of art in a series of dialogues and essays, and incorporates themes of decadence, duplicity, and beauty into what would be his only novel, The Picture of Dorian Gray (1890). The opportunity to construct aesthetic details precisely, and combine them with larger social themes, draw him to write drama. He writes Salome (1891) in French while in Paris but it is refused a licence for England due to an absolute prohibition on the portrayal of Biblical subjects on the English stage. Unperturbed, he produces four society comedies in the early 1890s, which make him one of the most successful playwrights of late-Victorian London.
At the height of his fame and success, while The Importance of Being Earnest (1895) is still being performed in London, Wilde has John Douglas, 9th Marquess of Queensberry prosecuted for criminal libel. The Marquess is the father of Wilde’s lover, Lord Alfred Douglas. The libel trial unearths evidence that causes him to drop his charges and leads to his own arrest and trial for gross indecency with men. After two more trials he is convicted and sentenced to two years of hard labour, the maximum penalty, and is jailed from 1895 to 1897. During his last year in prison, he writes De Profundis, published posthumously in 1905, a long letter which discusses his spiritual journey through his trials, forming a dark counterpoint to his earlier philosophy of pleasure. On his release, he leaves immediately for France, never to return to Ireland or Britain. There he writes his last work, The Ballad of Reading Gaol (1898), a long poem commemorating the harsh rhythms of prison life.
By November 25, 1900 Wilde has developed meningitis, then called “cerebral meningitis”. On November 29, he is conditionally baptised into the Catholic Church by Fr. Cuthbert Dunne, a Passionist priest from Dublin. He dies of meningitis on November 30, 1900. Different opinions are given as to the cause of the disease. Richard Ellmann claims it is syphilitic. Merlin Holland, Wilde’s grandson, believes this to be a misconception, noting that Wilde’s meningitis followed a surgical intervention, perhaps a mastoidectomy. Wilde’s physicians, Dr. Paul Cleiss and A’Court Tucker, report that the condition stems from an old suppuration of the right ear treated for several years and makes no allusion to syphilis.
Wilde is initially buried in the Cimetière parisien de Bagneux outside Paris. In 1909 his remains are disinterred and transferred to Père Lachaise Cemetery, inside the city. In 2011, the tomb is cleaned of the many lipstick marks left there by admirers and a glass barrier is installed to prevent further marks or damage.
In 2017, Wilde is among an estimated 50,000 men who are pardoned for homosexual acts that are no longer considered offences under the Policing and Crime Act 2017. The Act is known informally as the Alan Turing law.
As Alfred Willmore, he is one of the leading child actors on the English stage, in the company of Noël Coward. He appears for several seasons in Peter Pan. He studies painting at London’s Slade School of Fine Art, continuing to paint throughout his lifetime. In the 1920s he travels all over Europe. He is captivated by Irish culture and learns the Irish language which he speaks and writes fluently. He changes his name to an Irish version, presenting himself in Ireland as a descendant of Irish Catholics from Cork. Later in his life, he writes three autobiographies in Irish and translates them into English.
While acting in Ireland with the touring company of his brother-in-law Anew MacMaster, Mac Liammóir meets the man who becomes his partner and lover, Hilton Edwards. Their first meeting takes place in the Athenaeum, Enniscorthy, County Wexford. Deciding to remain in Dublin, where they live at Harcourt Terrace, the pair assists with the inaugural production of Galway‘s Irish language theatre, An Taibhdhearc. The play is Mac Liammóir’s version of the mythical story Diarmuid agus Gráinne, in which Mac Liammóir plays the lead role as Diarmuid.
Mac Liammóir and Edwards then throw themselves into their own venture, co-founding the Gate Theatre in Dublin in 1928. The Gate becomes a showcase for modern plays and design. Mac Liammóir’s set and costume designs are key elements of the Gate’s success. His many notable acting roles include Robert Emmet/The Speaker in Denis Johnston‘s The Old Lady Says “No!” and the title role in Hamlet.
In 1948, Mac Liammóir appears in the NBC television production of Great Catherine with Gertrude Lawrence. In 1951, during a break in the making of Othello, he produces Orson Welles‘s ghost-story Return to Glennascaul which is directed by Hilton Edwards. He plays Iago in Welles’s film version of Othello (1951). The following year, he goes on to play ‘Poor Tom’ in another Welles project, the TV film of King Lear (1953) for CBS.
Mac Liammóir claims when talking to Irish playwright Mary Manning, to have had a homosexual relationship with General Eoin O’Duffy, former Garda Síochána Commissioner and head of the paramilitary Blueshirts in Ireland, during the 1930s. The claim is revealed publicly by RTÉ in a documentary, The Odd Couple, broadcast in 1999. However, Mac Liammóir’s claims have not been substantiated.
Mac Liammóir’s life and artistic development are the subject of a major study by Tom Madden, The Making of an Artist. Edwards and Mac Liammóir are the subject of a biography, titled The Boys by Christopher Fitz-Simon.
Micheál Mac Liammóir dies at the age of 78 on March 6, 1978. Edwards and Mac Liammóir are buried alongside each other at St. Fintan’s Cemetery, Sutton, Dublin.
The first issue of The Nation, an Irish nationalist weekly newspaper, is published on October 15, 1842. It is printed at 12 Trinity Street, Dublin until January 6, 1844. The paper is later published at 4 D’Olier Street from July 13, 1844 until July 28, 1848, when the issue for the following day is seized and the paper suppressed. It is published again in Middle Abbey Street on its revival in September 1849.
John Mitchel joins the staff of The Nation in the autumn of 1845. On Mitchel’s frequent trips from Banbridge, County Down to Dublin, he had come in contact with the Repeal members who gathered about The Nation office and in the spring of 1843 he becomes a member of the Repeal Association. For the next two years he writes political and historical articles and reviews for The Nation. He covers a wide range of subjects, including the Irish Potato Famine, on which he contributes some influential articles which attract significant attention.
Mitchel resigns his position as lead writer for The Nation in 1847 because he comes to regard as “absolutely necessary a more vigorous policy against the English Government than that which William Smith O’Brien, Charles Gavan Duffy and other Young Ireland leaders were willing to pursue.” Upon his resignation he starts his own paper, The United Irishman.
Women also write for The Nation and publish under pseudonyms such as Speranza (Jane Elgee, Lady Wilde, Oscar Wilde‘s mother), Eithne (Marie Thompson) and Eva (Mary Eva Kelly, who would marry Kevin Izod O’Doherty.
The role played by some of its key figures in the paper in the ill-fated Young Irelander Rebellion of 1848 cement the paper’s reputation as the voice of Irish radicalism. Dillon is a central figure in the revolt and is sentenced to death, the sentence later commuted. He flees Ireland, escaping first to France and, eventually, to the United States, where he serves the New York Bar.
The Nation continues to be published until 1900, when it merges with the Irish Weekly Independent. Later political figures associated with the paper included Timothy Daniel Sullivan and J.J. Clancy.
The company plays for two seasons at the Peacock Theatre and then on Christmas Eve 1929, in Groome’s Hotel, a lease is signed for the 18th Century Rotunda Annex, the “Upper Concert Hall,” the Gate’s present home, with Johann Wolfgang von Goethe‘s Faust opening on February 17, 1930.
In 1931, the newly established Gate Theatre runs into financial difficulties and Edward Pakenham, 6th Earl of Longford and Christine Longford, Countess of Longford provide financial support. The Longfords work with Edwards and MacLiammóir at the Gate until 1936, then a split develops and two separate companies are formed and play at the Gate Theatre for six months each. The companies also tour for six months until the death of Lord Longford in 1961.
During this period Edwards and MacLiammóir (Gate Theatre Productions) run shows in Dublin’s Gaiety Theatre and tour productions to Europe, Egypt and North America.
From the 1980s onwards the Gate Theatre, under the directorship of Michael Colgan, cements its international relationship, touring plays around the world for audiences from Beijing to New York. The theatre establishes unique relationships with leading contemporary playwrights including Samuel Beckett, Harold Pinter and Brian Friel. The first ever Beckett Festival is produced, presenting all 19 of the stage plays over a three week period. The first ever festival of Pinter’s plays follows, along with many premieres and productions of Friel’s work including the acclaimed production of Faith Healer with Ralph Fiennes which wins a Tony Award on Broadway.
With the generous support of funders, the fabric of the building is restored and renovated under the guidance of Ronnie Tallon and Scott, Tallon Walker Architects. This includes the provision of a new wing, which incorporates a studio space, The Gate Studio, for rehearsals and workshops, offering practitioners an opportunity to develop and nurture creativity.
On April 3, 2017, Selina Cartmell becomes Director of the Gate Theatre. As a freelance artist, she has directed a diverse range of work from Greek tragedy and Shakespeare, to international work and contemporary Irish drama. In 2004, she establishes Dublin-based Siren Productions, a multi-award-winning company conceived to innovate the classics and create relevant and dynamic new work, integrating theatre, dance, visual arts, architecture, film and music. Her productions have been nominated for thirty five theatre awards, winning ten, including three for best director.
The first issue of 
The Gate Theatre Company of 
seamus dubhghaill 