Eugene Rutherford Watters is the eldest of two sons and two daughters born to Thomas Watters, a soldier, and his wife, Maud Sproule. His second name comes from his grandfather, Rutherford Sproule. He is educated at Garbally College. He enters St. Patrick’s Teacher Training College, Drumcondra, Dublin, in 1939, graduating with a Diploma in Education in 1945. He is awarded an MA, by University College Dublin in 1947.
Ó Tuairisc writes novels, verse, drama and criticism in both Irish and English. His first major publication is his controversial novel Murder in Three Moves (1960), followed by the Irish-language prose epic L’Attaque (1962), which wins an Irish Book Club award. Both works have a strong poetic flavour. His next book is a volume of verse entitled Week-End. His narrative poem The Weekend of Dermot and Grace (1964), an Irish version of Venus and Adonis, is considered his finest work.
Ó Tuairisc’s first wife, the Irish artist Una McDonnell, dies in 1965. He produces little during the five years following McDonnell’s death, which is an unsettled period of limited productivity, changing residence and jobs, and, ultimately, serious depression. In 1972 he marries the writer Rita Kelly, also of Ballinasloe. They live in the lock house at the Maganey Lock on the River Barrow that he had bought near Carlow, County Carlow.
In 1981 Ó Tuairisc publishes The Road to Brightcity: and other stories (Swords: Poolbeg Press, 1981), a translation of nine of the best short stories written originally in Irish by Máirtín Ó Cadhain. Also in 1981, he and Rita Kelly publish a joint collection of their poems, Dialann sa Díseart.
Like Diarmaid Ó Súilleabháin, Ó Tuairisc “challenged the critical orthodoxy by openly proclaiming that their standards could not be those of the Gaeltacht and by demanding a creative freedom that would acknowledge hybridity and reject the strictures of the linguistic purists.”
Ó Tuairisc is an inaugural member of Aosdána, when it is founded in 1981, and the first of its members to die. He is a recipient of an Arts Council of Ireland prize, as well as an Abbey Theatre prize for a Christmas pantomime in Irish.
Ó Tuairisc dies on August 24, 1982. He is survived by his second wife, Rita. A bibliography of his work, together with biographical information, is published in Irish in 1988.
Adèle King, Irish entertainer better known as Twink, is born on April 4, 1951 in Dublin. She is the mother of singer Chloë Agnew from the group Celtic Woman.
King spends more than 30 years in Dublin’s theatres, 26 years in the Gaiety Theatre, two years in the Point Theatre and five years in the Olympia Theatre. At the Olympia Theatre she co-produces and co-writes much of the shows. She has been described as Ireland’s “Panto Queen.” She has roles in a number of theatrical productions in Ireland, including Dirty Dusting at the Gaiety Theatre and Menopause: The Musical.
King appears on Irish television regularly since the late 1960s. She stars in her own series Twink on RTÉ. She spends ten years on Play the Game, and makes many appearances as a guest on a wide range of programmes, including RTÉ’s The Late Late Show, being the subject of a tribute on that show in 2005. She also is the subject of a weekend visit by the television programme Livin’ with Lucy with Lucy Kennedy.
In 1993 King is the guest act at a Christmas concert by Perry Como at Dublin’s Point Theatre, televised to a worldwide audience of 880 million. In 2003 she takes part in RTÉ’s Celebrity Farm and in 2011 she wins TV3‘s Celebrity Head Chef, receiving €10,000 for charity as a result.
King has written an agony aunt page for the Irish magazine TV Now. In 2011, she is given an agony aunt programme on TV3 called Give Adele a Bell. However, after a delay, the programme is cancelled in June 2012 without an episode being made. She wins a Jacob’s Award for her performance in her 1981 Christmas Light Entertainment Special on RTÉ2.
King establishes a performance school in the summer of 2002, the Adèle King Theatre School in Castleknock and Greenhills. Pupils of the school have appeared on television, in films, and in commercials in Ireland and abroad. The school does not re-open for the 2008 autumn term.
King marries oboist David Agnew in 1983 and has two children, Chloë in 1989, who sings with the group Celtic Woman, and Naomi in 1993. The marriage ends after 21 years, in October 2004.
King describes the Irish singer Linda Martin as a “cunt” during a tirade in May 2010. The two had been friends for 30 years but afterwards both say they have no plans to speak to each other again.
King has pet dogs, cats, birds, and a donkey. She lives with her daughters in Knocklyon, Dublin. In April 2015 it is reported that she and her ex-husband face a bid by the Bank of Scotland to repossess a house which is mortgaged in both their names. The application for possession against King had already previously been adjourned by the court.
In September 2014 it is widely reported across major Irish media outlets that King’s dog, Teddy Bear, had been kidnapped. Commenting on the events, she is quoted describing Linda Martin as being “a very powerful woman in the dog world” and that the kidnapping marked her own personal “Erin Brockovich moment.” On September 24 she is reunited with her dog after a public tip-off leads to the police arrest of a man in Dublin.
Her father, William Joseph Smithson, is an actor and theatrical manager from Gloucestershire, England, and her mother is an actress whose full name is unknown. She also has a brother, Joseph Smithson, and a sister, name also unknown. In October 1801, she is left in the care of Reverend James Barrett, a priest of the Church of Ireland, parish of Drumcliffe. Barrett becomes her guardian and raises her as though she were his own daughter. He instructs her “in the precepts of religion,” and keeps everything connected with the stage from her view. After his death on February 16, 1808, the Smithsons send Harriet to a boarding school in Waterford.
On May 27, 1814, Smithson makes her first stage appearance at the Theatre Royal, Dublin, as Albina Mandevill in Frederick Reynolds‘s The Will. Her performance is well received. In 1815, she takes her parents’ place in Montague Talbot’s company in Belfast after they return to Dublin. The season opens on January 1, 1816, where she extends her range in roles, performing in multiple comedies. She then travels to Newry, Limerick, Dublin, and Birmingham, where she joins Robert Elliston‘s company. She spends the next two months playing over forty roles in various genres.
Four years later, January 20, 1818, Smithson makes her first London appearance at Drury Lane as Letitia Hardy in The Belle’s Stratagem. Her first performance receives mixed reviews from critics, but she quickly gains some favour of critics and performers as she obtains more experience. She joins the permanent company at the Royal Coburg Theatre later that year. However, she rejoins Drury Lane Company in the autumn of 1820. On February 20, 1821, she takes the lead female role in Thérèse by John Howard Payne, when the cast actress falls ill. Overall, the London public remembers her as The Times put it, “a face and features well adapted to her profession; but [an actress] not likely to make a great impression on a London audience, or to figure among stars of the first magnitude.”
In 1827, Smithson makes her Paris début as Lydia Languish in The Rivals at the Théâtre de l’Impératrice. Though she receives negative reviews for this role, she is highly praised for her beauty and ability in the subsequent performance of She Stoops to Conquer. On September 11, 1827, she is given the small part of Ophelia next to Charles Kemble in Shakespeare’s Hamlet. She leaves a long lasting impression on the French through her interpretation of Ophelia’s madness, utilizing pantomime and natural presentation.
The tremendous success of Hamlet leads to the announcement of Romeo and Juliet, for September 15. Smithson is cast as Juliet, where she revolutionizes the women’s role in theatre by becoming as important as her male counterpart. Until this point, women’s lines in theatre are heavily cut and censored to reduce the role for the company’s “restricted talent.” Again, the production is widely well received. On September 18, Shakespeare’s Othello becomes the third Shakespeare tragedy to be performed by The English theatre. Her performance as Desdemona is less effective, but the production is popular enough to be repeated the following week. She is cast as Jane Shore in the renowned tragedyThe Tragedy of Jane Shore, a role in which she moves her audience to tears. The production soon becomes the most performed play in the English season. At the end of her time in France, she had acted in several productions with famous actors such as William Charles Macready, Edmund Kean, and Charles Kemble.
As opportunities to continue her work in Paris dwindle, Smithson returns to London to perform Jane Shore again. The production opens at Covent Garden on May 11, 1829 under unfavorable circumstances. Some audience members, who had read her reviews before she went to Paris, feel reluctant to attend the show. However, just seven days after her next performance as Juliet, in Shakespeare’s Romeo and Juliet, the press gives her glowing reviews.
After Covent Garden closes for the summer in 1832, Smithson tours England to minor theatres performing almost exclusively in tragedies. In June 1832, she joins the Theatre Royal Haymarket, where she has limited success and receives criticism about her weight.
In 1830, Smithson goes back to Paris to set up an English theatre under her own management. She obtains permission to perform at the Theatre-Italien where she performs several unsuccessful plays. A year later, she breaks her leg and is forced to put her career on hold until her leg heals, leaving her in great debt. She gives her last performance, as Ophelia, on December 15, 1836, before her health deteriorates.
Toward the end of her life, Smithson suffers from paralysis, which leaves her barely able to move or speak. She dies on March 3, 1854, at her home on the rue Saint-Vincent, and is buried at the Cimetière Saint-Vincent. Berlioz has her body is later reinterred at the Montmartre Cemetery when Cimetière Saint-Vincent undergoes redevelopment.
(Pictured: Oil on canvas portrait of Harriet Smithson by Claude-Marie-Paul Dubufe, located at the Musee Magnin, Dijon, France)
Potter is educated at St. Mary’s school in Fairview. She has a long career in Irish theatre, mainly as Ireland’s première comedienne, but also as a straight actress. She first appears professionally with Jimmy O’Dea in pantomime and appears frequently on television and in cabaret. She is a regular performer at the Gaiety Theatre in Dublin and for many years stars in Christmas pantomime. She becomes the first star to have a bronze cast of her handprints outside the theatre. She marries Jack O’Leary in 1959, an Irish army officer whom she had first met in 1943, and he writes most of her comedic material.
Among Potter’s many dramatic roles in the theatre is that of Maisie Madigan in Juno and the Paycock. While still a teenager, she tours abroad before World War II as a singer and dancer with Jack Hylton and his orchestra. On a tour of Germany, they once perform in front of Adolf Hitler and other Nazis. She plays the role of Dante Riordan in Joseph Strick‘s film, A Portrait of the Artist as a Young Man (1977). In September 1938, she appears on the BBC Television Service with Jack Hylton and his band. Film of her performance is held by the Alexandra Palace Television Society. In 2001, the Archivist of the Alexandra Palace Television Society gives Potter a copy of her 1938 television appearance.
Potter is conferred with the Freedom of the City of Dublin in 1984, and is later awarded an honorary degree from Trinity College, Dublin. She dies in her sleep at her home in Clontarf on April 7, 2004, at the age of 79. She is survived by her husband Jack O’Leary, and her sons John and Hugh.
In 1908, at the age of ten, de Valois starts attending ballet lessons. At the age of thirteen she begins her professional training at the Lila Field Academy for Children. It is at this time that she changes her name and makes her professional debut as a principal dancer in pantomime at the Lyceum Theatre in the West End.
The success of de Valois’s ballet Job: A Masque for Dancing for the Camargo Society in 1931, followed by her association with Lilian Baylis, director of the Old Vic Theatre, leads to the founding in 1931 of the Vic-Wells Ballet Company and the Sadler’s Wells School. She traces the history of the company, from its founding until it becomes the Royal Ballet in 1956, in Invitation to the Ballet (1937) and Come Dance with Me (1957).
Besides directing the company that she created, de Valois choreographs numerous ballets, including Checkmate (1937) and Don Quixote (1950). By drawing from English tradition for her choreographic material, as in The Rake’s Progress (1935), inspired by William Hogarth’s series of engravings, and The Prospect Before Us (1940), modeled on Thomas Rowlandson’s caricature of the same name, she creates a uniquely national ballet company. Her narrative ballets include prominent roles for male dancers, giving them artistic opportunities often neglected by other choreographers.
In 1963 de Valois retires as director of the Royal Ballet, although she remains head of the school until 1972. She is created a Dame of the British Empire in 1951 and is named Companion of Honour in 1980.
de Valois keeps her private life very distinct from her professional life, making only the briefest of references to her marriage to Dr. Arthur Blackall Connell, a physician and surgeon from Wandsworth, in her autobiographical writings. In April 1964 she is the subject of This Is Your Life, when she is surprised by Eamonn Andrews at the home of the dancer Frederick Ashton in London. She continues to make public appearances until her death in London on March 8, 2001 at the age of 102.
The Cork Opera House is destroyed by fire on December 12, 1955. It is originally built in 1855, and is built on a template that the architect had used for the exhibition buildings at the Irish Industrial Exhibition. Since then it survives the burning of much of Cork by British forces in 1920.
“The final curtain has fallen. The Cork Opera House is no more. A hundred years of stage history has come to an end. Never had the last moments of any drama, played on this stage, such an audience as last night’s farewell one. In heavy rain, a vast crowd stood silently as flames enveloped a proud landmark in our city. They watched it from the short first burst of fire on its roof until the building crumbled before their eyes.”
So reads the main news in The Cork Examiner on Tuesday, December 13, 1955, after the disastrous fire tore at the heartstrings of the people of Cork, leaving the city without a major theatre for the first time in 250 years. It is the boast of the Opera House that its tradition is continuous. When fighting in the South was at its bitterest, even when most of Cork was burned down, the Opera House kept running, only closing for pantomime rehearsals and in Holy Week. It is during the rehearsals for the forthcoming Christmas pantomime that the fatal fire starts. Fortunately, all people are evacuated, but the building built entirely from wood does not stand a chance from the merciless fire. What begins as an electrical fault blazes into an inferno within minutes. Soon the skyline of the city is lit up as the fire does its worst.
Ten years later, on February 23, 1963, the tender of Messrs. O’Shea, South Mall is accepted for the rebuilding of the Opera House. A month later the work begins and the foundation stone is laid by Lord MayorSeán Casey on June 21, 1963. The citizens watch the building construction with keen interest as the new building gradually takes shape. Finally the day arrives for the casting aside of hoardings and scaffoldings.
Immediately controversy begins regarding the much disputed North-Wall. Unfavorable comment and criticism is levelled at the lack of architectural or artistic embellishment on the exterior of the new building and the square, squat tower on top of the roof designed to ease set changing. This is a very natural reaction as the old Opera House had a very special place in the hearts of Corkonians of every generation during its existence. Most of the criticism is uninformed, for few are aware of the difficulties, financially and technically, that the project incurred. Despite the criticism about the exterior appearance, everyone who has an opportunity to inspect the interior of the theatre can find no fault. There is nothing but praise for the design, the decor, the layout of the seating accommodation and, above all, the intimate atmosphere which has been a traditional part of the venerable old building, and which is now faithfully preserved in the new.
The Gaiety is extended by theatre architect Frank Matcham in 1883, and, despite several improvements to public spaces and stage changes, it retains several Victorian era features and remains Dublin’s longest-established, continuously producing theatre.
Patrick Wall and Louis Elliman purchase the theatre in 1936 and run it for several decades with local actors and actresses. They sell it in 1965, and in the 1960s and the 1970s the theatre is run by Fred O’Donovan and the Eamonn Andrews Studios, until Joe Dowling, former artistic director of the Abbey Theatre, becomes director of the Gaiety in the 1980s. In the 1990s Groundwork Productions take on the lease and the theatre is eventually bought by the Break for the Border Group. The Gaiety is purchased by music promoter Denis Desmond and his wife Caroline in the late 1990s, who undertake a refit of the theatre. The Department of Arts, Sport and Tourism also contributes to this restoration fund.
The theatre plays host to the 1971 Eurovision Song Contest, the first to be staged in Ireland, during the Gaiety’s centenary year. Clodagh Rodgers, a contestant in that particular contest, later presents her RTÉ television series The Clodagh Rodgers Show from the theatre in the late 1970s.
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