seamus dubhghaill

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Tag Archives: Sean O’Casey


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Birth of Anna Manahan, Stage, Film & Television Actress

Anna Maria Manahan, Irish stage, film and television actress, is born on October 18, 1924, in County Waterford in what is at the time the Irish Free State (now the Republic of Ireland).

Manahan receives two Tony Award for Best Featured Actress in a Play nominations for her performances in the 1968 production of Lovers and the 1998 production of The Beauty Queen of Leenane, the latter for which she wins at the 52nd Tony Awards.

Manahan is also nominated for two Drama Desk Awards, a Laurence Olivier Award, and an Outer Critics Circle Award in a career that spans more than 60 years. She interprets the works of, among others, Seán O’Casey, John B. Keane, John Millington Synge, Oscar Wilde, James Joyce, Martin McDonagh, Christy Brown, and Brian Friel.

Manahan’s career begins when, as a young woman, she is recruited by the legendary Irish impresarios and theatrical directors Micheál Mac Liammóir and Hilton Edwards. She later marries stage director Colm O’Kelly, who dies not long afterward of polio, which he contracts after swimming in the Nile during a theatre tour of Egypt. They have no children and she never remarries. She is known professionally by her maiden name. In 1946 she appears in a production by Irish playwright Teresa Deevy, The Wild Goose, where she plays the part of Eileen Connolly. This is performed by Equity Productions in the Theatre Royal, Waterford.

In 1957, Manahan plays Serafina in the first Irish production of Tennessee Williams‘s The Rose Tattoo and achieves unexpected notoriety when she and several other members of the cast are arrested for the possession of a condom on stage.

Manahan plays a minor role in the Irish cult soap opera The Riordans (1960s), and as Mrs. Mary Kenefick in the TV comedy Me Mammy (1970s). She also plays the lead in the Irish comedy series, Leave It To Mrs O’Brien (1980s) and Mrs. Cadogan in The Irish R.M. (1980s). Most recently she plays Ursula in Fair City, for which her niece, Michele Manahan (daughter of Michael Manahan), is a writer.

Manahan has an extensive theatre portfolio having played at theatres throughout Ireland including the Abbey Theatre, the United Kingdom, continental Europe, the United States and Australia. She wins the Tony Award for Best Featured Actress in a Play for her role as Mag in Martin McDonagh’s The Beauty Queen of Leenane on Broadway. She previously receives a Tony nomination in 1969 for Brian Friel’s Lovers.

The Irish playwright John B. Keane writes the play Big Maggie specifically for Manahan. In 2001 she stars in Keane’s The Matchmaker with veteran Irish actor Des Keogh. In 2005 she stars in Sisters, a new play by Declan Hassett that is also written for her and for which she is nominated for a Drama Desk Award in the category of Outstanding Solo Performance. The production tours Ireland and is staged at the International Festival of World Theatre in Colorado and also plays at the 59E59 Theater in New York City in 2006.

Manahan appears in films starring, among others, Laurence Olivier, Peter Cushing, Kenneth More, Christopher Walken, Maggie Smith, Albert Finney and Brenda Fricker, and with John Gielgud in A Portrait of the Artist as a Young Man (1977).

Manahan receives the Gold Medal of the Éire Society of Boston in 1984 and thus joins the company of past recipients such as John F. Kennedy, and film makers John Ford and John Huston. She receives an honorary doctorate in letters from the University of Limerick in 2003. She is granted the freedom of the city of Waterford in 2002 in recognition of her life’s achievement in the arts. She thus becomes the 28th Freeman of Waterford since Isaac Butt in 1877.

In 2004 Manahan starts to play the role of Ursula in Fair City. All About Anna (2005), a documentary on her life and work is made by Charlie Mc Carthy/Icebox Films for RTÉ Television. In 2008, she becomes the first ever patron of the Active Retirement Ireland organization.

Manahan dies of multiple organ failure on March 8, 2009 in Waterford. She had suffered from a longterm illness.

Her funeral is held on March 11, officiated by her “longtime friend” the psychoanalyst, poet, and priest Bernard Kennedy. “As the final curtain falls, the lights dim, the auditorium becomes silent, we remember her” he says. Describing her as a woman of faith (who “sought to bring the word of God alive”), he says she had brought everyone together to be present at “her last great exit from this great stage of life,” saying her life’s work had drawn people from all over the world. “Anna believed in the empty tomb of the Resurrection and she believed the empty tomb could be filled by hearing the word take the place of the emptiness,” he says. “She knew the bedsits which preceded the Tony nomination.”

Manahan is buried in Ballygunner Cemetery, Knockboy, County Waterford.


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Death of Leslie Daiken, Copywriter, Editor & Writer

Leslie Herbert Daiken, an Irish advertising copywriter, editor, and writer on children’s toys and games, dies in London on August 15, 1964.

Born Leslie Yodaiken into a Russian–Jewish family in Portobello, Dublin, Daiken is the son of Samuel and Rosa Yodaiken. His father is a dealer in rubber and scrap metal, with premises in Dublin and Glasgow, and he is educated at two independent fee-paying schools, St. Andrew’s College and Wesley College, and then in 1930 he enters Trinity College Dublin. In his first year, one of his lecturers in French literature was Samuel Beckett. He is an active member of the Dublin University Socialist Society and a founding member of the college’s Gaelic Society.

In 1932, and again in 1933, as Yodaiken he wins the Vice-Chancellor’s Prize for English Prose, and while at Trinity, he publishes short stories and verse in Choice, The Dublin Magazine, and The New English Weekly.

In 1933, Daiken is present at the house of Charlotte Despard in Eccles Street, Dublin, also used as a Workers’ College, when it is attacked by a mob of Blueshirts. He leads the immediate defence of the building, which is saved on that occasion by the intervention of Irish Republican Army (IRA) men posing as the police.

In 1934, as Yodaiken, he graduates with a BA from Trinity in English and French Literature, with a Second Class degree. After graduating, Daiken works briefly as a schoolteacher in Dublin. In April 1935, his short story “Angela” is published in The New English Weekly under the pen name of Ned Kiernan. That year, he migrates to London.

Soon after his arrival in London, Daiken is one of the three founders of a duplicated publication called Irish Front, together with two other poets, Charles Donnelly and Ewart Milne.

In England, Daiken starts to shorten his surname from Yodaiken to Daiken, for his publications, but he does not make this change formally until doing so by deed poll in 1943.

In December 1935, The Irish Times reviews a production in Camden Town of Ireland Unfree, a stage version by Daiken of Patrick Pearse’s poem “The Rebel.” It states that “Mr. Daiken carries Pearse’s theme beyond his idealistic conclusion to the revolutionary viewpoint of the Irish workers.”

Daiken keeps up his links with leftist Irish writers and dissidents and edits the collection of working-class political verse Goodbye Twilight: songs of the struggle in Ireland (1936), illustrated by Harry Kernoff. The Irish Press describes this as “forty young poets with blazing eyes and clenched fists.” In another review, Louis MacNeice calls the book a “collection of proletarian poems – some communist, some Irish republican, and all written in a defiant spirit of opposition … a violent reaction against Yeats and all that he stood for.”

Daiken does not go to fight in the Spanish Civil War, although his Irish Front colleague Charles Donnelly does, and is killed; but he is active in fundraising for the Connolly Column, the Irish section of the International Brigades. He is also a contributor to the branch of Republican Congress in London, an Irish republican and Marxist-Leninist pressure group which aims to engage Irish emigrants working in the city on socialist issues.

In 1939, Mairin Mitchell is highly critical of the Irish leftists, and in particular Daiken, for their views on the Molotov–Ribbentrop Pact, and writes to Desmond Ryan in September, “Brian O’Neill, Bloomsbury, and Daiken will sing Russia right or wrong.”

In October 1939, at the time of the wartime National Registration Act, Daiken is living in a studio at Old Castle Wharf, Twickenham, and describes himself as “Script-writer and advertising copywriter.”

During World War II, Daiken enlists in the Corps of Signals of the Irish Army, a neutral force, and also works for Reuters as a correspondent on education. In 1944, he edits They Go, the Irish, a collection of essays, including one from Seán O’Casey. In 1945, a collection of his verse is published under the title Signatures of All Things. In the summer of that year, Samuel Beckett gives Daiken his unpublished novel Watt, in the hope that he can find a publisher for it, but he fails to do so. They continue to write to each other and meet in London and Paris in the 1950s. He also keeps up with another friend from Trinity, Con Leventhal.

After he becomes a father in 1945, Daiken’s main interest moves on from political activism to children’s games and toys, and by 1951 the basement of his London home has become a toy museum. He writes on the subject and makes television and radio programmes for the BBC about it. His film One potato, two potato, a compilation of children’s street rhymes, wins the Festival Mondial du Film prize in 1958. His radio play The Circular Road is about a Jewish-Irish child.

In the 1950s Daiken founds the National Toy Museum and Institute of Play, today part of the Toy Collection at Hove Museum of Creativity.

Daiken returns to Ireland many times as a visitor. In the early 1960s he completes a radio play about the Jewish community of Dublin in the 1920s, which is broadcast on RTÉ.

In October 1963, Conor Cruise O’Brien, Vice Chancellor of the University of Ghana, recruits Daiken as a lecturer in education, and not long before his death he makes a film called The Piano about teaching white and black children in a school in Africa. He dies on August 15, 1964, while spending the summer vacation at home in London, leaving an estate valued at £3,865. He is cremated. His widow survives him until 1981.

In a tribute to Daiken, his 1930s communist associate Brian O’Neill writes, “He was always busy, always with a half dozen irons in the fire, always trying to give a hand to some Irish writer who needed it.”

In the early 1990s, Katrina Goldstone interviews Daiken’s brother, Aubrey Yodaiken, and later reports: “I was left with a faint sense of melancholy, as my interviewee had become distressed speaking about his brother, Leslie Daiken, and recalling his irrepressible and exasperating personality, his many projects, half-started novels…”

Aubrey Yodaiken is distressed by the lack of appreciation of his brother’s many cultural efforts and by the fact that his “scattershot literary endeavours” seem to have come to naught.

The National Library of Ireland holds a collection of Daiken’s papers, in particular his publications and correspondence, presented to it in 1995 by his elder daughter, by then Melanie Cuming, and his younger brother, Aubrey Yodaiken. The papers are mostly in English, French, German, Dutch, Italian, Hebrew, and Irish.


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Death of Donal McCann, Stage, Film & Television Actor

Donal McCann, Irish stage, film, and television actor, dies from pancreatic cancer in Dublin on July 17, 1999. He is best known for his roles in the works of Brian Friel and for his lead role in John Huston‘s last film, The Dead (1987). In 2020, he is listed as number 45 on The Irish Times list of Ireland’s greatest film actors.

McCann is born on May 7, 1943, in Terenure, Dublin. His father is John J. McCann, a playwright and politician who serves twice as Lord Mayor of Dublin. Although he acts in a production of his father’s Give Me a Bed of Roses at Terenure College in 1962, he briefly studies architecture before taking a job as a trainee sub-editor at the Evening Press which allows him to pursue part-time acting classes at the Abbey School of Acting at the same time. He joins the Abbey Players in the late 1960s.

Among his most important early roles are Cú Chulainn in W. B. Yeats‘s On Baile Strand (1966), and as Estragon in a seminal production of Samuel Beckett‘s Waiting for Godot, partnering with Peter O’Toole as Vladimir (1969).

McCann’s career includes parts in many plays from the Irish literary canon, including Tarry Flynn, The Shaughran, and the Gate Theatre‘s highly acclaimed production of Seán O’Casey‘s classic Juno and the Paycock in the 1980s (McCann plays the “Paycock” (Captain Boyle) opposite Geraldine Plunkett as Juno and John Kavanagh as Joxer Daly) as well as a subsequent production of O’Casey’s The Plough and the Stars.

McCann develops a particularly fruitful relationship with the playwright Brian Friel. He plays the role of Gar O’Donnell, the public figure, in a film adaptation of Philadelphia, Here I Come! in 1970 and, despite popular belief, he never plays either public or private Gar on stage. He gives a landmark performance as Frank Hardy, the title character, in Faith Healer in 1980 (a role he reprised in 1994), continuing his relationship with Friel through productions of Translations (1988) and Wonderful Tennessee (1993).

Friel says that McCann’s work “contains extraordinary characteristics that go beyond acting … it is deeply spiritual.” Perhaps McCann’s most renowned role is as Thomas Dunne in Sebastian Barry‘s The Steward of Christendom. He wins the London Critics’ Circle Theatre Award (Drama Theatre) as best actor for this role in 1995. He reprises this role in a 1996 production at the Gate Theatre, Dublin and, following a twelve-week run at the Brooklyn Academy of Music in 1997, his “performance of unarguable greatness” (The New York Observer) had Newsweek hailing him as “a world-class star,” and The New York Times referring to this “astonishing Irish actor…widely regarded as the finest of them all.”

On the London stage, McCann plays in Prayer for My Daughter opposite Antony Sher (1978), and is Jean to Dame Helen Mirren‘s Julie in Miss Julie (1971). This is filmed for the BBC, and he much later plays Judge Brack with Fiona Shaw in the title role of Henrik Ibsen‘s Hedda Gabler, a production filmed for the BBC in 1993.

McCann begins his film career early, in 1966, in Walt Disney Pictures’s The Fighting Prince of Donegal (this later becomes a TV series). More significant roles include the title character’s father Shamie in Cal and one of the feuding brothers in Thaddeus O’Sullivan‘s December Bride (1990). He works a number of times with Neil Jordan (in Angel, The Miracle and High Spirits).

His best-known film role is as Gabriel Conroy in The Dead (1987), starring opposite Anjelica Huston and directed by her father, John Huston. Significant late roles include Bernardo Bertolucci‘s Stealing Beauty (1996) and in John Turturro‘s Illuminata (released in 1999, after McCann’s death).

McCann’s television work includes the featured role of Phineas Finn in the BBC’s serialised adaptation of Anthony Trollope‘s The Pallisers, Willie Burke in RTÉ‘s Prix Italia drama entry The Burke Enigma (1979) and Barney Mulhall in RTÉ’s Strumpet City (1980), as well as many one-off parts.

McCann plays in Bob Quinn‘s Irish language film Poitín (1979) and in Quinn’s somewhat experimental The Bishop’s Story (1995). After hearing that McCann is ill, Tom Collins asks Quinn to make a TV documentary about McCann for RTÉ called It Must Be Done Right (1999), after a remark by McCann on his craft. The film airs on RTÉ a week before McCann’s death.

In his private life, McCann is a quiet and unassuming man, but he battles both depression and alcoholism all his life. He has many friends in Irish theatre and artistic circles but also across all strata of life. His hobbies include sketching and he is passionate about horse racing.

Remembering McCann on the 25th anniversary of his death, Gerald Smyth writes, “In the melancholy of that life-worn voice could be heard the cadences of a lyric heart.”


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Death of James Bernard Fagan, Actor, Producer & Playwright

James Bernard Fagan, Irish-born actor, theatre manager, producer and playwright in England, dies of a heart attack in Hollywood, Los Angeles, California, on February 17, 1933, following a bout of influenza.

Fagan is born in Belfast on May 18, 1873, the eldest of the five children of Sir James Fagan, a surgeon at the Belfast Royal Hospital and an inspector of Irish reformatories, and Mary Catherine Fagan (née Hughes). He attends Clongowes Wood College near Clane, County Kildare and then moves to England. Initially interested in a career in the church, he begins studying law at Trinity College, Oxford in 1892 but leaves in 1893 without a degree. He works for a time in the Indian Civil Service but abandons this career for the stage.

Fagan begins his career as an actor with the company of Sir Frank Benson for two years, then joining, from 1895 to 1899, the company of Herbert Beerbohm Tree at Her Majesty’s Theatre. There he appears in Katherine and Petruchio, A Man’s Shadow, Julius Caesar, The Musketeers and Carnac Sahib. He starts writing plays in 1899, with The Rebels, for the time forsaking acting. In 1913, he returns to the stage touring as the Rt. Hon. Denzil Trevena in his own play, The Earth. He next writes The Fourth of August (1914) and Doctor O’Toole (1917). In 1917 he produces his first play, his own adaptation of the Eugène Brieux play Damaged Goods at St. Martin’s Theatre. He next produces The Wonder Tales and The Little Brother at the Ambassadors Theatre in London.

Fagan takes over the Court Theatre in London’s Sloane Square as a Shakespearean playhouse in 1920. The Times calls his revivals of Twelfth Night, The Merchant of Venice, Henry the Fourth (Part Two) and A Midsummer Night’s Dream “memorable for their freshness, sanity and distinction, and [deserving of] a place in theatrical history.” At the Court, he revives Damaged Goods and, in 1921, with the assistance of the author, produces George Bernard Shaw‘s Heartbreak House, with Edith Evans as “Lady Utterwood.” In 1922 he produces his play The Wheel at the Apollo Theatre. Its success allows him to repay his creditors. Even more successful is his adaptation of Treasure Island at the Savoy Theatre with Arthur Bourchier as “Long John Silver,” which opens December 26, 1922. It is revived every Christmas until the outbreak of World War II.

Fagan is persuaded by Jane Ellis, the actress who with Alfred Ballard founds the Oxford Playhouse “Red Barn” in 1923, to be its first manager. His first production at the Oxford Playhouse is a restaging of Shaw’s Heartbreak House and numbered Shaw among the audience. He produces The Cherry Orchard, at various theatres, to favourable reviews, popularising Anton Chekhov in Britain. From November 16, 1925, with Dennis Eadie, he presents Juno and the Paycock at the Royalty Theatre, thus bringing Seán O’Casey to the attention of London’s theatre-going public. O’Casey’s The Plough and the Stars follows the next year.

Fagan receives little support from the University of Oxford or the play-going public and resigns in 1929. His successor is Stanford Holme, who broadens its appeal and, despite the straitened times, makes it financially viable. In 1929, he is a director of the Festival Theatre, Cambridge, where his friend Terence Gray is director. He also produces many works for the Irish Players.

Beginning in the 1920s, several of Fagan’s plays are adapted for film. He moves to Hollywood in 1929 for the filming by Paramount Pictures of his play The Wheel as The Wheel of Life. Other film work includes his co-adaptation of the screenplay for the 1932 film Smilin’ Through, and he co-writes Paramount’s Forgotten Commandments the same year. His play Bella Donna is filmed four times, including posthumously in 1946, and a 1936 film, The Improper Duchess is based on his 1931 play of the same name.

James Bernard Fagan dies in Hollywood, California, on February 17, 1933, at the age of 59 of a heart attack following a bout of influenza.


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Death of Character Actor Liam Redmond

Liam Redmond, Irish character actor known for his stage, film and television roles, dies in Dublin on October 28, 1989, following a lengthy illness.

Redmond is born in Limerick, County Limerick, on July 27, 1913, one of four children born to cabinet-maker Thomas and Eileen Redmond. Educated at the Christian Brothers schools in Dublin, he later attends University College Dublin (UCD) and initially reads medicine before moving into drama.

While Director of the Dramatic Society, Redmond meets and marries the society’s secretary, Barbara MacDonagh, sister of Donagh MacDonagh and daughter of 1916 Easter Rising leader Thomas MacDonagh and Muriel Gifford. They have four children.

Redmond is invited to join the Abbey Theatre in 1935 as a producer by William Butler Yeats, the Irish poet. Yeats writes his play Death of Cú Chulainn for Redmond to star as Cú Chulainn, hero of one of Ireland’s foundational myths.

Redmond makes his acting debut at the Abbey Theatre in 1935 in Seán O’Casey‘s The Silver Tassie. His first stage appearance is in 1939 in New York City in The White Steed. After returning to Britain at the outbreak of World War II he is a regular on the London stage. He is one of the founders of the Writers’, Artists’, Actors’ and Musicians’ Association (WAAMA), a precursor of the Irish Actors’ Equity Association. His insistence that “part-time professionals” – usually civil servants who act on the side – should be paid a higher rate than professional actors for both rehearsal time and performance, effectively wiping out this class, raising the wages and fees of working actors.

Redmond stars in Broadway, among other plays starring in Paul Vincent Carroll‘s The White Steed in 1939, playing Canon McCooey in The Wayward Saint in 1955, winning the George Jean Nathan Award for Dramatic Criticism for his performance, and starring in 1968 in Joe Orton‘s Loot and Brian Friel‘s The Loves of Cass Maguire.

Redmond works in television and film throughout the 1950s to the 1980s and is regularly seen in television series such as The Avengers, Daniel Boone, The Saint and Z-Cars. He is often called upon as a character actor in various military, religious and judicial roles in films such as I See a Dark Stranger (1946), Captain Boycott (1947), High Treason (1951), The Cruel Sea (1953), The Playboy of the Western World (1962), Kid Galahad (1962), The Luck of Ginger Coffey (1964), Tobruk (1967), The Ghost and Mr. Chicken (1966) and Barry Lyndon (1975). His performance as the kindly occult expert in the cult horror film Night of the Demon (1957) is a favourite of fans of the film.

Redmond retires to Dublin and dies at age 76, after a long period of ill health, on October 28, 1989. His wife Barbara predeceases him in 1987.


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Birth of Pauline Flanagan, Stage & Television Actress

Pauline Flanagan, Irish-born actress who has a long career on stage, is born in Sligo, County Sligo, on June 29, 1925. She is best known in the United States for her role as Annie Colleary, on the television soap opera Ryan’s Hope in 1979 and again in 1981. She later returns to the show as Sister Mary Joel.

Flanagan is born to Patrick and Elizabeth (née Mulligan) Flanagan, who are strongly nationalist and republican, and support the Republican Anti-Treaty during the Irish Civil War, both serving as Lord Mayor of Sligo. Her paternal family, originally from County Fermanagh, are driven out by anti‐Catholic pogroms and resettle in Sligo, where her parents manage a retail business. She is good friends with fellow Irish actresses Joan O’Hara and Paddy Croft. She spends much of the early 1950s touring with Anew McMaster, where she meets Harold Pinter at the Gate’s Pinter Festival.

Flanagan appears in many Broadway plays, making her debut in 1957 in the first Main Stem production of Dylan Thomas‘s Under Milk Wood. She stars as Mrs. Grose in the 1976 Broadway revival of the William Archibald play The Innocents. She also appears on Broadway in Brian Friel‘s play Philadelphia, Here I Come! in 1994.

Flanagan also acts in Off-Broadway productions on several occasions with the Irish Repertory Theatre, including Harold Prince‘s Grandchild of Kings (1992), Seán O’Casey‘s Juno and the Paycock (1995). and Hugh Leonard‘s A Life (2001). For her performance in Grandchild of Kings, she receives the 1992 Outer Critics Circle Awards nomination for Best Actress. Other Off-Broadway work includes Yeats! A Celebration by William Butler Yeats.

Flanagan appears as Myra White in Hugh Leonard’s play Summer (1974), both in the original production at the Olney Theatre Center in Olney, Maryland, and at the Olympia Theatre in the Dublin Theatre Festival.

Flanagan is nominated for the 1982 Drama Desk Award for Outstanding Featured Actress in a Play for Medea in which she performs on Broadway in 1982.

In 1997, Flanagan wins the Barclays Theatre Awards for Best Actress in a Supporting Role for her role in Jennifer Johnston‘s The Desert Lullaby: A Play in Two Acts, at the Lyric Theatre, Belfast. The Barclays Theatre Awards are for outstanding regional theatre (including opera and dance) in the United Kingdom.

In 2001, Flanagan wins a Laurence Olivier Award for Best Actress in a Supporting Role, for her performance in Frank McGuinness‘s Dolly West’s Kitchen at The Old Vic in Waterloo, London.

A resident of Glen Rock, New Jersey, Flanagan dies at The Valley Hospital in Ridgewood, New Jersey, on June 28, 2003, one day before her 78th birthday, of heart failure following a battle with lung cancer. She is survived by her husband, George Vogel (whom she married in 1958), a sister, Maura McNally, and her daughters Melissa Brown and Jane Holtzen.


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Death of John Ford, Irish American Film Director

John Ford, American film director of Irish descent and one of the most important and influential filmmakers of his generation, dies in Palm Desert, California, on August 31, 1973.

Ford is born John Martin Feeney on February 1, 1894, at Cape Elizabeth, Maine. He is the fourth son among five sons and six daughters of Seán Feeney, Roman Catholic farmer and saloonkeeper, and Barbara ‘Abby’ Feeney (née Curran). His father had emigrated to the United States from Spiddal, County Galway, and his mother from Kilronan, Inishmore, one of the Aran Islands.

From an early age Ford has an interest in painting and sailing, and in July 1914 moves to California, where his older brother Francis is an actor with a small film company. Adopting the name ‘Jack Ford,’ he learns his trade as a filmmaker and acts in a number of silent films. Reveling in his Irish heritage, he makes his director’s debut with The Tornado (1917) and follows it with more than forty movies over the next six years. On July 3, 1920, he marries Mary McBryde Smith, a former officer in the army medical corps. They meet at a party thrown by the director Rex Ingram and have one son and one daughter.

In 1921 Ford visits Ireland for the first time and later claims to have travelled on the same boat that brought Michael Collins back from the treaty negotiations. He meets his relatives at Spiddal, falls in love with the countryside, and becomes a fervent Irish nationalist. It is later claimed that he brought over funds for his cousin Martin Feeney, a member of an Irish Republican Army (IRA) flying column.

Returning to Hollywood, Ford becomes friends with the retired marshal Wyatt Earp and makes a number of commercially successful films, now as ‘John Ford’. In 1926 he directs The Shamrock Handicap, a horse-racing yarn partly set in Ireland. In 1928 he shoots Mother Machree, a movie about Irish emigration, starring Victor McLaglen, a regular collaborator. McLaglen also stars in Hangman’s House, made the same year, Ford’s first major movie about Ireland.

In 1934 Ford purchases a luxury yacht which he names the Araner after the Aran Islands. He also begins shooting The Informer, a film set in Ireland during the Irish War of Independence and based on a short novel by Liam O’Flaherty. The picture is a major box office success and wins four Academy Awards, including Best Director. O’Flaherty is so impressed with the film that he dedicates his next book, Famine, to Ford.

In 1934 Ford visits Ireland for the second time, and approaches Seán O’Casey about directing a version of The Plough and the Stars. Released in 1936, the film stars Barry Fitzgerald as Fluther, but it is reedited by the studio, much to Ford’s fury, and is a commercial and critical flop.

Stagecoach, shot in 1938, is one of Ford’s masterpieces. It was a western starring his protégé, John Wayne, and marks the beginning of his golden decade. In 1940 and 1941 he wins Best Director Oscars successively for The Grapes of Wrath and How Green Was My Valley. With American entry into World War II, he serves in the U.S. Navy, and makes important documentaries such as The Battle of Midway (1942).

In 1952 Ford returns to Ireland to film The Quiet Man, starring Wayne, McLaglen, and Maureen O’Hara. Shot at Ashford Castle, County Mayo, the picture becomes one of the most popular Irish films of all time. He is immensely proud of the work and is in tears leaving Ireland. The following year he makes Mogambo, with Clark Gable, Grace Kelly and a young English actor, Donald Sinden, who later recalls that Ford berated him personally for all the problems of Ireland from the time of William of Orange. Ford’s strong sense of Irishness is central to his character and is crucial for any understanding of his work. Back in Ireland in 1956, he shoots The Rising of the Moon, a portmanteau film for which he takes no salary, starring Tyrone Power, Cyril Cusack, and Noel Purcell. A minor film, it makes no impact at the box office.

Two of Ford’s finest movies are made in his later years. The Searchers (1956) is a powerful study of vengeance, while The Man Who Shot Liberty Valance (1962) is an elegiac revisionist western which concludes with the famous line, “When the legend becomes fact, print the legend.”

Struck with cancer in his final years, Ford dies on August 31, 1973 at his home in Palm Desert, California, and is buried at Holy Cross Cemetery, Culver City. His will disinherits his son, Michael Patrick Roper, and leaves everything to his wife, daughter, and grandchildren.

When asked to name the finest American directors, Orson Welles replies simply, “John Ford, John Ford, and John Ford.” An alcoholic, Ford is a difficult and often tyrannical director, but he makes films of extraordinary power and vision. He ranks as one of the greatest filmmakers of the twentieth century. As Frank Capra concludes, “John is half-tyrant, half-revolutionary; half-saint, half-Satan; half-possible, half-impossible; half-genius, half-Irish.”

(From: “Ford, John,” contributed by Patrick M. Geoghegan, Dictionary of Irish Biography, http://www.dib.ie)


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Death of Gerard Dillon, Painter and Artist

Gerard Dillon, Irish painter and artist, dies following a second stroke on June 14, 1971.

Dillon is born in Belfast in 1915 or 1916. He leaves school at the age of fourteen and for seven years works as a painter and decorator, mostly in London. From an early age he is interested in art, cinema, and theatre. About 1936 he starts out as an artist.

Dillon’s Connemara landscapes provide the viewer with context, portraits of the characters who work the land, atmosphere and idiosyncratic colour interpretations. At the age of 18, Dillon goes to London, initially working as a decorator. With the outbreak of World War II, he returns to Belfast. Over the next five years he develops as a painter in Dublin and Belfast. His works during this period are more than simple depictions of the life and people around him, they are reactions and interactions in paint.

In 1942, Dillon’s first solo exhibition is opened by his friend and fellow artist, Mainie Jellett, at The Country Shop, St. Stephen’s Green, Dublin. “Father, Forgive Them Their Sins” features depicting his concerns about the new war that had broken out. Despite a growing reputation, he has to return to London in 1944 to work on demolition gangs to restore his finances. In the late 1940s and during the 1950s, he finds himself favouring the town of Roundstone, Connemara. In 1951 he is introduced to Noreen Rice by her piano teacher. She has no formal training and she takes Dillon and George Campbell as her mentors for decades and her work is of a similar surrealistic and primitive style.

In 1958, Dillon has the double honour of representing Ireland at the Guggenheim International, and Great Britain at the Pittsburg International Exhibition. He and his sister, Mollie, have a property on Abbey Road in 1958. They let out part of the house to Arthur Armstrong and they let a flat to Noreen Rice and her brother. He and Noreen tour junk yards to find objects like leather and string that they include in their artwork.

Dillon travels widely in Europe and teaches for brief periods in the London art schools.

In 1967, Dillon suffers a stroke and spends six weeks in hospital. From this time his work changes direction. A notion of imminent death sends his work almost into another world, a realm of dreams and paintings intimating his death. In 1968 he is back in Dublin, where he helps to design sets and costumes for Seán O’Casey‘s play Juno and the Paycock. He continues to paint and also to make tapestries, sitting at his Singer sewing machine.

In 1969, Dillon pulls his artworks from the Belfast leg of the Irish Exhibition of Living Art in purported protest during the Troubles against the “arrogance of the Unionist mob.” However, he does send work to Ulster when he donates work to Sheelagh Flanagan who had organised an exhibition for the relief of victims of the Belfast riots, in October 1969. His picture is hanged alongside the donated works of T. P. Flanagan, William Scott, F. E. McWilliam, Deborah Brown and Carolyn Mulholland as well as more than twenty others. Michael Longley retorts in a further letter, “Belfast needed creativity, it needed people like Gerard Dillon.” During his last years, he is invited to be involved in a children’s art workshop in the National Gallery of Ireland.

Dillon dies of a second stroke at the age of 55 on June 14, 1971. His grave, as requested, is unmarked in Belfast’s Milltown Cemetery. Danlann Gerard Dillon/The Gerard Dillon Gallery in Cultúrlann McAdam Ó Fiaich is named in his honour.

In his biography of the artist, James White briefly touches on the artists homosexuality: “such was his religious feeling that although he was drawn to people of that type, if he once had an encounter I believe that it never occurred again.” The artist’s nephew, Martin Dillon, recalls that after his uncle’s death he found a diary entry describing a homosexual encounter with a sense of guilt, but the author Gerard Keenan insists he was “a very well-adjusted homosexual.” Reihill expands on this, pointing to a probably unrequited love for the painter Daniel O’Neill and also highlighted Dillon’s association with Basil Rákóczi and The White Stag Group‘s Kenneth Hall both strong gay connections. Pictures with both overt and covert references are known.

(Pictured: “Washing Day” by Gerard Dillon)


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Birth of Shelah Richards, Actress, Manager, Director & Producer

Shelah Geraldine Richards, Irish actress, manager, director and producer, is born in Dublin on May 23, 1903.

Richards is born to John William Richards, a lawyer, and Adelaide Roper, suffragist who had chained herself to the railings in St. Stephen’s Green. She goes to school at Alexandra College, Dublin, and after that she attends a finishing school in Paris. Though her family is not in the arts, her godmother is Beatrice Elvery. Shes attends Elvery’s salons with her parents as a child. She meets W. B. Yeats when she is sixteen. Her niece, Geraldine Fitzgerald, daughter of her sister, Edith Catherine Richards, is also one of Ireland’s pre-eminent actresses.

Richards’s acting career starts while attending the Dublin drama league and she is asked at short notice to replace Eileen Crowe in Juno and the Paycock, playing the role of Mary Boyle in the Abbey Theatre production. Richards gets the role of Nora Clithero in the 1926 production of The Plough and the Stars, Seán O’Casey‘s next production. This role means that she ends up with police protection for the duration of the run due to the disturbances the play engenders. Another important role is to take on playing the lead in The Player Queen by Yeats. Maire O’Neill had previously made the role her own and Yeats had let no one perform the part since then so taking on such a challenge is intimidating. Richards continues to take on leading roles with the Abbey Theatre but in 1926 she also begins to direct.

On December 28, 1928, Richards marries playwright Denis Johnston in St. Anne’s Church in Dublin. She tours the United States with the Abbey players in 1932 and with the Irish Players in the mid 1930s. A role in 1938 in Molly Keane‘s Spring Meeting starring Gladys Cooper and A. E. Matthews takes her to Broadway in New York City. War in Europe breaks out while the run is still going on and Richards is advised to stay in the United States. However, by then she has two children, producer Micheal and novelist Jennifer Johnston, so she returns to Dublin. There she runs her own theater company at the Olympia Theatre with Nigel Heseltine. Her marriage to Johnston, broken in 1938, ends with divorce in February 1945.

Richards next challenge is to take over the Abbey School of Acting. During her time there one of the designers she works with is Louis le Brocquy. With Siobhán McKenna she produces The Playboy of the Western World in Edinburgh to huge success allowing her to stage it in London and Dublin and later in Toronto‘s Library Theater. She brings Marcel Marceau to Dublin for the first time. She continues to act and has some film roles.

In 1961 Ireland launches its first television service, Raidió Teilifís Éireann. Richards is one of the first producers, recommended to the station by Hilton Edwards. She is one of the few women in the new station. The first Irish play produced during the opening week is directed by her and she is nominated for a Best Actress award in another production, Inquiry at Lisieux. She works as producer on a wide number of programs for the station including documentaries, soap operas and religious programming. Both Tolka Row and The Riordans are produced by her as well as Denis Johnston’s The Moon on the Yellow River, George Bernard Shaw‘s Arms and the Man and John Millington Synge‘s Riders to the Sea.

Richards retires from her RTÉ career in the early 1970s though she continues to raise funds for the Gate Theatre through the Edwards–MacLiammóir Playhouse Society. In 1983, for her 80th birthday, the Abbey puts on a party for her which includes a special rendition of “Nora” from The Plough and the Stars. Richards is the last living member of the original 1926 cast. The song is repeated at her funeral in 1985. She died in Ballybrack, County Dublin, on January 19, 1985. Her funeral is held in St. Anne’s Church in Dublin and she is cremated in Glasnevin Cemetery.


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Birth of Michael O’Riordan, Founder of the Communist Party of Ireland

Michael O’Riordan, the founder of the Communist Party of Ireland who also fights with the Connolly Column in the International Brigades during the Spanish Civil War, is born at 37 Pope’s Quay, Cork, County Cork, on November 12, 1917.

O’Riordan is the youngest of five children. His parents come from the West Cork Gaeltacht of Ballingeary–Gougane Barra. Despite his parents being native speakers of the Irish language, it is not until he is interned in the Curragh Camp during World War II that he learns Irish, being taught by fellow internee Máirtín Ó Cadhain, who goes on to lecture at Trinity College, Dublin.

As a teenager, O’Riordan joins the Irish nationalist youth movement, Fianna Éireann, and then the Irish Republican Army (IRA). The IRA at the time is inclined toward left-wing politics and socialism. Much of its activity concerns street fighting with the quasi-fascist Blueshirt movement and he fights Blueshirt fascism on the streets of Cork in 1933–34. He is friends with left-wing inclined republicans such as Peadar O’Donnell and Frank Ryan, and in 1934, he follows them into the Republican Congress, a short-lived socialist republican party.

O’Riordan joins the Communist Party of Ireland in 1935 while still in the IRA and works on the communist newspaper The Irish Workers’ Voice. In 1937, following the urgings of Peadar O’Donnell, several hundred Irishmen, mostly IRA or ex-IRA men, go to fight for the Spanish Republic in the Spanish Civil War with the XVth International Brigade. They are motivated in part by enmity towards the 800 or so Blueshirts, led by Eoin O’Duffy who go to Spain to fight on the “nationalist” side in the Irish Brigade. He accompanies a party led by Frank Ryan. In the Republic’s final offensive of July 25, 1938, he carries the flag of Catalonia across the River Ebro. On August 1, he is severely injured by shrapnel on the Ebro front. He is repatriated to Ireland the following month, after the International Brigades are disbanded.

In 1938 O’Riordan is offered an Irish Army commission by the Irish Free State but chooses instead to train IRA units in Cork. As a result of his IRA activities during World War II, or the Emergency as it is known in neutral Ireland, he is interned in the Curragh internment camp from 1939 until 1943 where he is Officer Commanding of the Cork Hut and partakes in Máirtín Ó Cadhain’s Gaelic League classes as well as publishing Splannc (Irish for “Spark,” named after Vladimir Lenin‘s newspaper).

In 1944 O’Riordan is founding secretary of the Liam Mellows Branch of the Labour Party and in 1945 is a founding secretary of the Cork Socialist Party, whose other notable members include Derry Kelleher, Kevin Neville and Máire Keohane-Sheehan.

O’Riordan subsequently works as a bus conductor in Cork and is active in the Irish Transport and General Workers Union (ITGWU). In 1946 he stands as a Cork Socialist Party candidate in the Cork Borough by-election and afterwards moves to Dublin where he lives in Victoria Street with his wife Kay Keohane of Clonakilty, continues to work as a bus conductor and remains active in the ITGWU.

In 1947, O’Riordan is a founding secretary of the Irish Workers’ League and general secretary thereafter, and of its successor organisation the Irish Workers’ Party from 1962–70.

In the 1960s, O’Riordan is a pivotal figure in the Dublin Housing Action Committee which agitates for clearances of Dublin’s slums and for the building of social housing. There, he befriends Fr. Austin Flannery, leading Minister for Finance and future Taoiseach Charles Haughey to dismiss Flannery as “a gullible cleric” while the Minister for Local Government, Kevin Boland, describes him as a “so-called cleric” for sharing a platform with O’Riordan.

In all O’Riordan runs for election five times, campaigning throughout for the establishment of a socialist republic in Ireland but given Ireland’s Catholic conservatism and fear of communism, he does so without success. He does, however, receive playwright Sean O’Casey‘s endorsement in 1951.

O’Riordan’s participation in the Spanish Civil War is always an important part of his political identity. In 1966 he attends the International Brigades’ Reunion in Berlin and is instrumental in having Frank Ryan’s remains repatriated from Germany to Ireland in 1979.

O’Riordan is a member of the Irish Chile Solidarity Committee and attends the 1st Party Congress of the Communist Party of Cuba in 1984. He also campaigns on behalf of the Birmingham Six and attends their Appeal trial in 1990. He serves as General Secretary of the Communist Party of Ireland (1970–83) and as National Chairman of the party (1983–88). He publishes many articles under the auspices of the CPI.

O’Riordan’s last major public outing comes in 2005 at the re-dedication of the memorial outside Dublin’s Liberty Hall to the Irish veterans of the Spanish Civil War. He and other veterans are received by President of Ireland Mary McAleese. He is also presented with Cuba’s Medal of Friendship by the Cuban Consul Teresita Trujillo to Ireland on behalf of Cuban President Fidel Castro.

In 1969, according to Soviet dissident Vasili Mitrokhin, O’Riordan is approached by IRA leaders Cathal Goulding and Seamus Costello with a view to obtaining guns from the Soviet KGB to defend Irish republican areas of Belfast during the communal violence that marks the outbreak of the Troubles. Mitrokhin alleges that O’Riordan then contacts the Kremlin, but the consignment of arms does not reach Ireland until 1972. The operation is known as Operation Splash. The IRA splits in the meantime between the Provisional IRA and the Official IRA and it is the latter faction who receives the Soviet arms. Mitrokhin’s allegations are repeated in Boris Yeltsin‘s autobiography.

O’Riordan’s book, Connolly Column – The Story of the Irishmen who fought for the Spanish Republic 1936–1939, is published in 1979 and deals with the Irish volunteers of the International Brigade who fought in support of the Spanish Republic against Francisco Franco in the Spanish Civil War (1936–1939). An updated version of the book is reprinted in 2005 and is launched by the Lord Mayor of Dublin, Cllr. Michael Conaghan at a book launch at SIPTU headquarters, Liberty Hall. The book is the inspiration for Irish singer-songwriter Christy Moore‘s famous song “Viva la Quinta Brigada.”

In 1991, O’Riordan’s wife dies at the age of 81 at their home. He continues to live in their family home before moving to Glasnevin in 2000 to be close to his son Manus who lives nearby. He lives there until falling ill in November 2005 and is taken to the Mater Hospital. His health rapidly deteriorates, and he quickly develops Alzheimer’s disease. Soon afterwards he is moved to St. Mary’s Hospital in the Phoenix Park where he spends the final few months of his life, before his death at the age of 88 on May 18, 2006.

O’Riordan’s funeral at Glasnevin Crematorium is attended by over a thousand mourners. Following a wake the previous night at Finglas Road, hundreds turn up outside the house of his son Manus and traffic grounds to a halt as family, friends and comrades – many of whom are waving the red flag of the Communist Party of Ireland – escort O’Riordan to Glasnevin Cemetery. A secular ceremony takes place led by Manus O’Riordan, Head of Research at SIPTU, with contributions from O’Riordan’s family, Communist Party general secretary Eugene McCartan and IBMT representative Pauline Frasier.

The funeral congregation includes politicians such as Labour Party leader Pat Rabbitte, his predecessor Ruairi Quinn, party front-bencher Joan Burton, Sinn Féin TD Seán Crowe and councillor Larry O’Toole, ex-Workers’ Party leader Tomás Mac Giolla and former Fianna Fáil MEP Niall Andrews. Also in attendance are union leaders Jack O’Connor (SIPTU), Mick O’Reilly (ITGWU) and David Begg (ICTU). Actors Patrick Bergin, Jer O’Leary, singer Ronnie Drew, artist Robert Ballagh, and newsreader Anne Doyle are also among the mourners. Tributes are paid by President of Ireland Mary McAleese, Taoiseach Bertie Ahern, Sinn Féin leader Gerry Adams and Labour Party TDs Ruairi Quinn and Michael D. Higgins.