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.
McNally is born in Dublin in 1752, the son of a merchant and wine importer. He is raised by his mother with the support of his uncle. He is born into a Roman Catholic family, but at some point in the 1760s he converts to the Church of Ireland. He is passionate about theatre, entirely self-educated and initially becomes a merchant in Bordeaux like his father.
However, in 1774 McNally goes to London to study law at the Middle Temple but returns to Dublin to be called to the Irish bar in 1776. After returning to London in the late 1770s, he qualifies as a barrister in England as well, in 1783. He practises for a short time in London and, while there, supplements his income by writing plays and editing The Public Ledger.
Returning to Ireland, McNally developes a successful career as a barrister in Dublin. He develops an expertise in the law of evidence and, in 1802, publishes what becomes a much-used textbook, The Rules of Evidence on Pleas of the Crown. The text plays a crucial role in defining and publicising the beyond reasonable doubt standard for criminal trials.
Not long after returning to Ireland, McNally becomes involved in radical politics, having already in 1782 published a pamphlet in support of the Irish cause. He becomes Dublin’s leading radical lawyer of the day. In 1792, he represents James Napper Tandy, a radical member of the Irish Parliament, in a legal dispute over parliamentary privilege. In the early 1790s, he becomes a founder member of the United Irishmen, a clandestine society which soon develops into a revolutionary Irish republican organisation. He ranks high in its leadership and acts as the organisation’s chief lawyer, representing many United Irishmen in court. This includes defending Wolfe Tone and Robert Emmet, the leaders of the 1798 and 1803 rebellions respectively, at their trials for treason. In 1793, he is wounded in a duel with Sir Jonah Barrington, who had insulted the United Irishmen. Barrington subsequently describes McNally as “a good-natured, hospitable, talented and dirty fellow.”
After McNally’s death in 1820, it emerges that he had for many years been an informant for the government, and one of the most successful British spies in Irish republican circles that there has ever been. In 1794, when a United Irishmen plot to seek aid from Revolutionary France is uncovered by the British government, McNally turns informer to save himself, although, subsequently, he also receives payment for his services. He is paid an annual pension in respect of his work as an informer of £300 a year, from 1794 until his death in 1820.
From 1794, McNally systematically informs on his United Irishmen colleagues, who often gather at his house for meetings. It is he that betrays Lord Edward FitzGerald, one of the leaders of the 1798 rebellion, as well as Robert Emmet in 1803. A significant factor in the failure of the 1798 rebellion is the excellent intelligence provided to the government by its agents. McNally is considered to be one of the most damaging informers.
The United Irishmen represented by McNally at their trials are invariably convicted and he is paid by the crown for passing the secrets of their defence to the prosecution. During the trial of Emmet, he provides details of the defence’s strategy to the crown and conducts his client’s case in a way that assists the prosecution. For example, three days before the trial he assures the authorities that Emmet “does not intend to call a single witness, nor to trouble any witness for the Crown with a cross-examination, unless they misrepresent facts… He will not controvert the charge by calling a single witness.” For his assistance to the prosecution in Emmet’s case, he is paid a bonus of £200, on top of his pension, half of which is paid five days before the trial.
After McNally’s death, his activities as a government agent become generally known when his heir attempts to continue to collect his pension of £300 per year. He is still remembered with opprobrium by Irish nationalists. In 1997, the Sinn Féin newspaper, An Phoblacht, in an article on McNally, describes him as “undoubtedly one of the most treacherous informers of Irish history.”
McNally is a successful dramatist and writes a number of well-constructed but derivative comedies, as well as comic operas. His first dramatic work is The Ruling Passion, a comic opera written in 1771, and he is known to have authored at least twelve plays between 1779 and 1796 as well as other comic operas. His works include The Apotheosis of Punch (1779), a satire on the Irish playwright Richard Brinsley Sheridan, Tristram Shandy (1783), which is an adaptation of Laurence Sterne‘s novel, Robin Hood (1784), Fashionable Levities (1785), Richard Cœur de Lion (1786), and Critic Upon Critic (1788).
McNally also writes a number of songs and operettas for Covent Garden. One of his songs, The Lass of Richmond Hill, becomes very well-known and popular following its first public performance at Vauxhall Gardens in London in 1789. It is said to be a favourite of George III and popularises the romantic metaphor “a rose without a thorn,” a phrase which he used in the song.
Nothing is known of McNally’s first wife Mary O’Brien, other than that she dies in 1786. In London in 1787, he elopes with Frances I’Anson, as her father William I’Anson a solicitor, disapproves of McNally. Frances, and her family’s estate, Hill House in Richmond, North Yorkshire, is the subject of a song with lyrics by McNally and composed by James Hook, The Lass of Richmond Hill. In 1795, Frances dies during childbirth at age 29 and is survived by only one daughter. In early 1799, McNally marries his third wife, Louisa Edgeworth, the daughter of a clergyman from County Longford.
When McNally’s son, who has the same and professions, dies on February 13, 1820, it is widely reported to have been McNally. The son is buried in Donnybrook, Dublin, on February 17, 1820, and McNally sends a letter on March 6, 1820, to the Proprietor of Saunders’s Newsletter seeking damages for the severe injury caused by the circulation of his death. In June 1820, McNally is on his deathbed, and although he had been a Protestant for most of his adult life, he seeks absolution from a Roman Catholic priest. He dies and is also buried in Donnybrook on June 8, 1820.
Described as having an “ardent and self-confident manner,” Hughes is first heard of in an Irish musical capacity (beyond being honorary organist at St. Peter’s Church on Antrim Road at the age of fourteen) collecting traditional airs and transcribing folksongs in North Donegal in August 1903 with his brother Fred, Francis Joseph Bigger, and John Patrick Campbell. Dedicated to seeking out and recording such ancient melodies as are yet to be found in the more remote glens and valleys of Ulster, he produces Songs of Uladh (1904) with Joseph Campbell, illustrated by his brother John and paid for by Bigger. Throughout his career, he collects and arranges hundreds of traditional melodies and publishes many of them in his own unique arrangements. Three of his best-known works are the celebrated songs, My Lagan Love, She Moved Through the Fair, and Down by the Salley Gardens, which are published as part of his four collections of Irish Country Songs, his key achievement. These are written in collaborations with the poets Joseph Campbell and Padraic Colum, and W. B. Yeats himself. A dispute with Hamilton Harty over copyright on My Lagan Love is pursued on Bigger’s advice, but fails.
Hughes has a unique approach to arranging Irish traditional music. He calls upon the influence of the French impressionistClaude Debussy in his approach to harmony: “Musical art is gradually releasing itself from the tyranny of the tempered scale. […] and if we examine the work of the modern French school, notably that of M. Claude Debussy, it will be seen that the tendency is to break the bonds of this old slave-driver and return to the freedom of primitive scales.” He regards arrangements as an independent art form on an equal level with original composition: “[…] under his [i.e. the arranger’s] hands it is definitively transmuted into an art-song, an art-song of its own generation.” His folksong arrangements have been sung all across the English-speaking world. John McCormack and Kathleen Ferrier are the first to record them on gramophone records.
Hughes also composes a limited amount of original chamber music (a violin sonata is mentioned in a letter to Hughes from Bernard van Dieren dated April 4, 1932), and some scores for the stage (like And So to Bed by James Bernard Fagan) and film. Hughes and John Robert Monsell also create songs for a musical version of Richard Brinsley Sheridan‘s The Rivals called Rivals!, which is staged at the Kingsway Theatre in London in October 1935 by Vladimir Rosing and runs for 86 performances.
Married to Lillian Florence (known as Meena) Meacham and Suzanne McKernan, Hughes has three children: Patrick, known professionally as Spike Hughes, Angela and Helena. He dies in Brighton, England, at the relatively early age of fifty-four on May 1, 1937.
Knowles’s father is the lexicographer James Knowles, cousin of Richard Brinsley Sheridan. The family moves to London in 1793, and at the age of fourteen he publishes a ballad entitled The Welsh Harper, which, set to music, is very popular. His talents secure him the friendship of William Hazlitt, who introduces him to Charles Lamb and Samuel Taylor Coleridge. He serves for some time in the Wiltshire and afterwards in the Tower Hamlets militia, leaving the service to become a pupil of Dr. Robert Willan. He obtains the degree of M.D. and is appointed vaccinator to the Jennerian Society.
Although Dr. Willan offers him a share in his practice, Knowles decides to give up medicine for the stage, making his first appearance as an actor probably at Bath, and plays Hamlet at the Crow Street Theatre, Dublin. At Wexford he marries, in October 1809, Maria Charteris, an actress from the Edinburgh Theatre. In 1810, he writes Leo, a successful play in which Edmund Kean appears. Another play, Brian Boroihme, written for the Belfast Theatre in the next year, attracts crowds. Nevertheless, his earnings are so small that he is obliged to become assistant to his father at the Royal Belfast Academical Institution. In 1817 he moves from Belfast to Glasgow, where, besides keeping a flourishing school, he continues to write for the stage.
Knowles first important success is Caius Gracchus, produced at the Belfast Theatre in 1815. His Virginius, written for William Charles Macready, is first performed in 1820 at Covent Garden. In William Tell (1825), he writes for Macready one of his favourite parts. His best-known play, The Hunchback, is produced at Covent Garden in 1832, and he wins praise acting in the work as Master Walter. The Wife is brought out at the same theatre in 1833. The Daughter, better known as The Wrecker’s Daughter, in 1836, and The Love Chase in 1837. His 1839 play Love is praised by Mary Shelley for its “inspiring situations founded on sentiment and passion.” His second wife is the actress, Emma Knowles.
In his later years Knowles forsakes the stage for the pulpit and, as a Baptist preacher, attracts large audiences at Exeter Hall and elsewhere. He publishes two polemical works: the Rock of Rome and the Idol Demolished by Its Own Priests in both of which he combats the special doctrines of the Roman Catholic Church. He is for some years in the receipt of an annual pension of £200, bestowed by Sir Robert Peel in 1849. In old age he befriends the young Edmund Gosse, whom he introduces to Shakespeare. He makes a happy appearance in Gosse’s Father and Son.
Knowles dies at Torquay on November 30, 1862. He is buried under a huge tomb at the summit of the Glasgow Necropolis.
A full list of the works of Knowles and of the various notices of him can be found in The Life of James Sheridan Knowles (1872), privately printed by his son, Richard Brinsley Knowles (1820–1882), who is well known as a journalist. It is translated into German.
In 1783 FitzGerald visits the West Indies before returning to Ireland, where his brother, William FitzGerald, 2nd Duke of Leinster, has procured Edward’s election to the Irish Parliament as an MP for Athy, a seat he holds until 1790. In Parliament he acts with the small Opposition Irish Patriot Party group led by Henry Grattan but takes no prominent part in debate. In the spring of 1786, he takes the then unusual step for a young nobleman of entering the Military College, Woolwich, after which he makes a tour through Spain in 1787. Dejected by unrequited love for his cousin Georgina Lennox, he sails for New Brunswick to join the 54th Regiment with the rank of Major.
In April 1789, guided by compass, FitzGerald traverses the country with a brother officer from Fredericton, New Brunswick to Quebec, falling in with Indians by the way, with whom he fraternizes. He accomplishes the journey in twenty-six days and establishes a shorter practicable route than that hitherto followed. The route crosses the extremely rugged and heavily forested northern part of the present state of Maine. In a subsequent expedition he is formally adopted at Detroit by the Bear clan of the Mohawk with the name “Eghnidal,” and makes his way down the Mississippi River to New Orleans, whence he returns to England.
Finding that his brother has procured his election for Kildare County, a seat he holds from 1790 to 1798, and desiring to maintain political independence, FitzGerald refuses the command of an expedition against Cádiz offered him by William Pitt the Younger and devotes himself for the next few years to the pleasures of society and to his parliamentary duties. He is on terms of intimacy with his first cousin Charles Fox, with Richard Sheridan and other leading Whigs. According to Thomas Moore, FitzGerald is only one of numerous suitors of Sheridan’s first wife, Elizabeth, whose attentions are received with favour. She conceives a child by him, a baby girl who is born on March 30, 1792.
His Whig connections, together with his transatlantic experiences, predisposed FitzGerald to sympathize with the doctrines of the French Revolution, which he embraces enthusiastically when he visits Paris in October 1792. He lodges with Thomas Paine and listens to the debates in the Convention. While in Paris, he becomes enamoured of a young girl named Pamela whom he chances to see at the theatre, and who has a striking likeness to Elizabeth Sheridan. On December 27, 1792, he and Pamela are married at Tournai, one of the witnesses being Louis Philippe, afterwards King of the French. In January 1793 the couple reaches Dublin.
Ireland is by then seething with dissent which is finding a focus in the increasingly popular and revolutionary Society of the United Irishmen, which has been forced underground by the outbreak of war between France and Britain in 1793. FitzGerald, fresh from the gallery of the Convention in Paris, returns to his seat in the Irish Parliament and immediately springs to their defence. Within a week of his return, he is ordered into custody and required to apologise at the bar of the House of Commons for violently denouncing in the House a government proclamation which Grattan had approved for the suppression of the United-Irish attempt to revive the Irish Volunteer movement with a “National Guard.” However, it is not until 1796 that he joins the United Irishmen, who by now have given up as hopeless the path of constitutional reform and whose aim, after the recall of Lord Fitzwilliam in 1795, is nothing less than the establishment of an independent Irish republic.
In May 1796 Theobald Wolfe Tone is in Paris endeavouring to obtain French assistance for an insurrection in Ireland. In the same month, FitzGerald and his friend Arthur O’Connor proceed to Hamburg, where they open negotiations with the Directory through Reinhard, French minister to the Hanseatic towns. The Duke of York, meeting Pamela at Devonshire House on her way through London with her husband, tells her that his plans are known and advises that he should not go abroad. The proceedings of the conspirators at Hamburg are made known to the government in London by an informer, Samuel Turner. The result of the Hamburg negotiations is Louis Lazare Hoche‘s abortive expedition to Bantry Bay in December 1796.
In September 1797 the Government learns from the informer Leonard McNally that FitzGerald is among those directing the conspiracy of the United Irishmen, which is now quickly maturing. Thomas Reynolds, converted from a conspirator to an informer, keeps the authorities posted in what is going on, though lack of evidence produced in court delays the arrest of the ringleaders. But on March 12, 1798, Reynolds’ information leads to the seizure of a number of conspirators at the house of Oliver Bond. FitzGerald, warned by Reynolds, is not among them.
As a fellow member of the Ascendancy class, the Government are anxious to make an exception for FitzGerald, avoiding the embarrassing and dangerous consequences of his subversive activities. They communicate their willingness to spare him from the normal fate meted out to traitors. FitzGerald however refuses to desert others who cannot escape, and whom he has himself led into danger. On March 30 the government proclamation of martial law authorising the military to act as they see fit to crush the United Irishmen leads to a campaign of vicious brutality in several parts of the country.
FitzGerald’s social position makes him the most important United Irish leader still at liberty. On May 9 a reward of £1,000 is offered by Dublin Castle for his apprehension. Since the arrests at Bond’s house, he has been in hiding. The date for the rising is finally fixed for May 23 and FitzGerald awaits the day hidden by Mary Moore above her family’s inn in Thomas Street, Dublin.
Tipped off that the house is going to be raided, Moore turns to Francis Magan, a Catholicbarrister and trusted sympathiser, who agrees to hide Fitzgerald. Making its way to Magan’s house on May 18, Fitzgerald’s party is challenged by Major Henry Sirr and a company of Dumbarton Fencibles. Moore escapes with Fitzgerald and takes him back to Thomas Street to the house of Nicholas Murphy.
Moore explains to Magan what had happened and, unbeknownst to her, Magan informs Dublin Castle. The Moore house is raided that day. Mary, running to warn the Leinster Directory meeting nearby in James’s Gate, receives a bayonet cut across the shoulders. That same evening Sirr storms Murphy’s house where FitzGerald is in bed suffering from a fever. Alerted by the commotion, he jumps out of bed and, ignoring the pleas of the arresting officers to surrender peacefully, he stabs one and mortally wounds the other with a dagger in a desperate attempt to escape. He is secured only after Major Sirr shoots him in the shoulder.
FitzGerald is conveyed to New Prison, Dublin where he is denied proper medical treatment. After a brief detention in Dublin Castle he is taken to Newgate Prison, Dublin where his wound, which has become infected, becomes mortally inflamed. His wife, whom the government probably has enough evidence to convict of treason, has fled the country, never to see her husband again, but FitzGerald’s brother Henry and his aunt Lady Louisa Conolly are allowed to see him in his last moments. He dies at the age of 34 on June 4, 1798, as the rebellion rages outside. He is buried the next day in the cemetery of St. Werburgh’s Church, Dublin. An Act of Attainder confiscating his property is passed as 38 Geo. 3 c. 77 but is eventually repealed in 1819.
As a young man, O’Connor embraces the Republican movement early on as he is encouraged by the American Revolution overseas. After his oldest brother Daniel gets into debt, his brother Roger buys out his inheritance. The family’s political and financial conflicts are only deepened when their sister Anne commits suicide, after having been forbidden by the family from marrying a Catholic man she was in love with.
In 1796, O’Connor joins the Society of United Irishmen and determines, on its platform, to contest what had been his uncle Lord Longueville’s Irish parliamentary seat in Antrim. In January 1797, to the “free electors” of the county he commends the “entire abolition of religious distinctions” and the “establishment of a National Government,” while protesting the “invasion” of the country by English and Scottish troops and the continuation of the continental war. Arrests, including his own in February for seditious libel, frustrate his attempts to canvass. With Lord Edward FitzGerald and others in the leadership in Dublin his thoughts turn to securing “fraternal” French support for a revolutionary insurrection.
O’Connor is released in 1802 under the condition of “banishment,” He travels to Paris, where he is regarded as the accredited representative of the United Irishmen by Napoleon who, in February 1804, appoints him General of Division in the French army. General Louis-Alexandre Berthier, Minister of War, directs that O’Connor is to join the expeditionary army intended for the invasion of Ireland at Brest. When the plan falls through, O’Connor retires from the army.
In 1807, although more than twice her age, O’Connor marries Alexandrine Louise Sophie de Caritat de Condorcet, known as Eliza, the daughter of the scholar the Marquis de Condorcet and Sophie de Condorcet. Following his marriage he borrows money from fellow exile William Putnam McCabe to acquire a country residence. His tardiness in repaying the debt to McCabe, whose own investments into cotton spinning in Rouen had failed, results in a lawsuit. Cathal O’Bryne suggests that the debt is behind O’Connor’s later suggestion to Richard Robert Madden that McCabe had been a double agent, a charge to which, Madden notes, the French government lends no credence.
O’Connor offers his services to Napoleon during the Hundred Days. After Napoleon’s defeat he is allowed to retire, becoming a naturalised French citizen in 1818. He supports the 1830 revolution which creates the July Monarchy, publishing a defence of events in the form of an open letter to General Gilbert du Motier, Marquis de Lafayette. After the revolution he becomes mayor of Le Bignon-Mirabeau. The rest of his life is spent composing literary works on political and social topics. He and his wife continue the efforts of her mother, who is herself an accomplished translator of Thomas Paine and Adam Smith, to publish her father’s works in twelve volumes between 1847 and 1849.
O’Connor’s wife give birth to five children, three sons and two daughters, almost all of whom predecease him. Only one son, Daniel, marries and has issue. Daniel marries Ernestine Duval du Fraville, a daughter of Laurent-Martin Duval, Baron Duval du Fraville, in 1843. She dies at Cannes in 1877.
O’Connor dies on April 25, 1852. His widow dies in 1859.
O’Connor’s descendants continue to serve as officers in the French army and still reside at Château Dubignon. Through his only surviving son, Daniel, he is a grandfather of two boys, Arthur O’Connor (1844–1909), who serves in the French army, and Fernand O’Connor (1847–1905), a Brigade General who serves in Africa and is made a Knight of the Legion of Honour. His grandson, Arthur, marries Marguerite de Ganay (1859–1940), a daughter of Emily and Etienne, Marquis de Ganay, in 1878. They have two daughters, Elisabeth O’Connor, the wife of Alexandre de La Taulotte, and Brigitte Emilie Fernande O’Connor (1880–1948), who in 1904 marries the Comte François de La Tour du Pin (1878–1914), who is killed ten years later at the First Battle of the Marne.
Weldon is born on September 6, 1890, in Hiskinstown, Delvin, County Westmeath, the eldest son of James Weldon, a schoolteacher, originally of Ballinea, Mullingar, and Fanny Weldon (née Duncan). He attends his father’s school at Delvin until he is eighteen, and the relationship between father and son is to remain rather formal and strict.
Stimulated by the visiting fit-up theatrical companies and of news from Dublin of the Abbey Theatre, in September 1908 he takes the lead in a local staging of a political melodrama, Robert Emmet by Henry C. Mangan. The following summer he leaves for Dublin, ostensibly to become a civil servant but in fact to audition as an actor at the Abbey Theatre. His acting career with the Abbey Theatre begins in September 1910 with a role in R. J. Ryan’s The Casting-out of Martin Whelan.
MacNamara is the author of several novels, the most well-known of which is his first, The Valley of the Squinting Windows (1918), its title a byword for small-town hypocrisy and begrudgery. The work itself is an uneasy fusion of a satiric portrait of gossipy, prying women and dipsomaniacally drinking men with a naturalist tragedy in which the sins of the past repeat themselves in the lives of the younger characters. The novel’s frank treatment of sexual matters is eclipsed as a cause of offence by the unflattering portrayal of almost all the inhabitants of the fictional village called Garradrimna, a place that local people feel would be automatically identified as Delvin. In the ensuing controversy the novelist’s father, James Weldon (widely suspected of being the author), and his school are subject to boycott. His attempts to seek legal redress in 1923 are unsuccessful.
MacNamara continues to write for many years after this controversial first work, and locates most of his later fiction in Garradrimna, in the Irish Midlands. Among his plays are The Glorious Uncertainty (1923) and Look at the Heffernans! (1926). His work is part of the literature event in the art competition at the 1924 Summer Olympics in Paris.
In 1925 McNamara is appointed registrar to the National Gallery of Ireland in Dublin, a position he holds until his retirement in 1960. In 1932 he becomes one of the first members of the Irish Academy of Letters, and in 1935 joins the board of directors of the Abbey Theatre.
MacNamara marries Helena Degidon, a schoolteacher, in 1920. His later years are dogged by increasing ill health and he dies at Sir Patrick Dun’s Hospital, Dublin, on February 4, 1963.
In 2009, Shaw collaborates with Deborah Warner again, taking the lead role in Tony Kushner‘s translation of Bertolt Brecht‘s Mother Courage and Her Children. In a 2002 article for The Daily Telegraph, Rupert Christiansen describes their professional relationship as “surely one of the most richly creative partnerships in theatrical history.” Other collaborations between the two women include productions of Brecht’s The Good Woman of Szechuan and Henrik Ibsen‘s Hedda Gabler, the latter adapted for television.
Shaw appears in season four of American TV show True Blood. Her character, Marnie Stonebrook, has been described as an underachieving palm reader who is spiritually possessed by an actual witch. Her character leads a coven of necromancer witches who threaten the status quo in Bon Temps, erasing most of Eric Northman‘s memories and leaving him almost helpless when he tries to kill her and break up their coven.
Hilton Edwards, an English-born Irish actor, lighting designer, and theatrical producer, is born in London on February 2, 1903.
Edwards 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.
seamus dubhghaill 