Chancellor is born at 8 Fitzwilliam Place, Dublin, on January 9, 1910. Her parents are John William Chancellor, a Dublin clockmaker, jeweler, and photographer, and Cicely Chancellor (née Granger). They marry in Billericay, Essex, in 1904. She has an elder sister, Joyce Fanny, who also becomes an actress. She attends Nightingale Hall and Alexandra College, going on to train as a secretary.
Chancellor’s first appearance on stage is as a fairy in a benefit performance at the Gaiety Theatre in 1914. She appears again at the Gaiety in 1922 as Gwennie in F. Anstey‘s The Man from Blankley’s, and then studies drama under Frank Fay. In the 1920s, she acts in the Dublin Drama League’s productions in the Abbey Theatre. Once she joins the Gate Theatre her career progresses, establishing her as one of the principal actresses in the Gate by the early 1930s.
Chancellor plays Naomi alongside Orson Welles in a production of Jud Süss in October 1931. Welles becomes infatuated with her and later describes her as “the sexiest thing that ever lived.” In 1931, she debuts in J. B. Fagan‘s production of The New Gossoon by George Shiels as Biddy Henley at the Apollo Theatre. Her most noted roles are as Toots in Youth’s the Season in 1932 by Mary Manning, Laura in a production of Carmilla in 1932, based on the Gothicnovella by Sheridan Le Fanu, Ophelia in 1932 and Cicely in The Importance of Being Earnest in 1933. Touring with the Gate company in 1935, she plays Stella in its production of Lord Longford‘s Yahoo performed in the Westminster Theatre, London. She stars with James Mason in the Gate’s production of Pride and Prejudice in 1937. Disappointed with the parts she is getting at the Gate after that and much to the annoyance of Micheál Mac Liammóir and Hilton Edwards, she joins Lord Longford’s first provincial tour in 1937.
In the late 1930s, Chancellor works more often in London. Following her appearance as Baby Furze in the 1938 production of Spring Meeting by Molly Keane and John Perry, she is nominated as “Star of the Future” by the Daily Mail. She acts alongside Alec Guinness and Peggy Ashcroft in 1940 in Clemence Dane‘s Cousin Muriel at the Globe Theatre, directed by John Gielgud.
Chancellor returns to the Gaiety Theatre in 1941 to act with Hilton Edwards in a production of Caesar and Cleopatra by George Bernard Shaw, a production that marks the 75th anniversary of the Gaiety. The press welcomes her return to the company, but her fellow actors are disturbed by the fact she is then living with Denis Johnston, the husband of fellow actress Shelah Richards. After Johnston’s divorce, they marry in March 1945 in Dungannon, County Tyrone. She partly retires from acting to raise their sons, but also due to her increasing deafness that had begun in her teens.
In 1969, Chancellor returns to Ireland with her family and settles in Dalkey, County Dublin. She dies in Dún Laoghaire on April 27, 1984, and is buried in the close of St. Patrick’s Cathedral, Dublin.
In London, developing his interest in the theatre, Johnston abandons plans for a legal and political career.
Johnston is a protégé of W. B. Yeats and George Bernard Shaw, and has a stormy friendship with Seán O’Casey. He is a pioneer of television and war reporting. He works as a lawyer in the 1920s and 1930s before joining the BBC as a writer and producer, first in radio and then in the fledgling television service. His broadcast dramatic work includes both original plays and adaptation of the work of many different writers.
Johnston’s first play, The Old Lady Says “No!”, helps establish the worldwide reputation of Dublin’s Gate Theatre. His second play, The Moon in the Yellow River, has been performed around the globe in numerous productions featuring such storied names as James Mason, Jack Hawkins, Claude Rains, Barry Fitzgerald, James Coco and Errol Flynn. Later plays deal with the life of Jonathan Swift, the 1916 Rebellion, the pursuit of justice, and the fear of death. He writes two opera libretti and a pageant.
“Passionate in his radical skepticism and loathing of what he saw as the pernicious influence of the Roman Catholic Church,” at the end of 1933, Johnston joins the trade unionistJohn Swift, the Dublin novelistMary Manning, and fellow northerner, the libertarian socialistJack White, in forming The Secular Society of Ireland. “Convinced that clerical domination in the community is harmful to advance,” the society seeks “to establish in this country complete freedom of thought, speech and publication, liberty for mind, in the widest toleration compatible with orderly progress and rational conduct.” Among other things it aims to terminate the clerically-dictated ban on divorce, the Censorship of Publications Act and the system of clerical management, and consequent sectarian teaching, in schools.
This is at a time of heightened clerical militancy and as soon the meeting place of the Society (from which it distributed the British journal The Freethinker) is exposed, it has to shift to private houses outside of Dublin. In 1936, Johnston and the other members disband the society and donate the proceeds to the government of the beleaguered Spanish Republic. He has become a recognised man of the left. In 1930 he joins the Irish Friends of Soviet Russia, and though never a party member, until as late as the 1950s he professes faith in a communist future.
Johnston dies on August 8, 1984, at Ballybrack, County Dublin, and is buried in St. Patrick’s Cathedralclose. His epitaph is a quotation from The Old Lady Says “No!” – Emmet’s lines praising Dublin “the strumpet city.”
The Denis Johnston Playwriting Prize is awarded annually by Smith College Department of Theatre for the best play, screenplay or musical written by an undergraduate at Smith College, Mount Holyoke College, Amherst College, Hampshire College and the University of Massachusetts Amherst. The prize is endowed by his former student at Smith, Carol Sobieski.
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.
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.