seamus dubhghaill

Promoting Irish Culture and History from Little Rock, Arkansas, USA

Tag Archives: Theatre Royal (Dublin)


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Birth of Anne Bushnell, Jazz & Blues Singer

Anne Bushnell, Irish jazz and blues singer and cabaret performer, is born Anne Kavanagh in the Rotunda Hospital, Dublin, on March 28, 1939.

Bushnell is one of four children of John Kavanagh and Evelyn (née Ledwidge). Her father is a motor mechanic with a business on Arnott Street, Portobello, with the family living in Milltown. She dances on the stage of the Theatre Royal as a child and is a junior Irish champion dancer. She attends the St. Louis convent school in Rathmines, where she performs in plays and musicals and sings in the school choir. The nuns disapprove of her musical influences and try to dissuade her interest in jazz and “the music of the night.” Due to the family’s financial circumstances, she leaves school at the age of 16 and takes a job as a typist. She marries Tony Bushnell in April 1961. He is a salesman who shares her interest in music. The couple moves to Templeogue, and have a daughter, Suzanne, and a son, Paul. Paul is now a session musician based in Los Angeles, and Suzanne sings with a female vocal harmony group, Fallen Angels.

Bushnell continues to perform in amateur musicals, and from the early 1960s she sings with an Irish céilí band. With help from her husband’s musical family, she sings in Dublin jazz clubs from 1967, emerging as a well-respected jazz and blues vocalist and cabaret performer. She competes in the national song contest in 1968 singing Ballad to a Boy and becomes a resident singer in the RTÉ Light Orchestra. By the late 1960s, she is one of the busiest singers in Ireland, singing jingles for radio and TV commercials, and featuring on showband records as a backing singer. She is a regular guest on RTÉ television variety shows from 1970, including hosting Girls, girls, girls.

From 1972 to 1974, Bushnell is part of a group called Family Pride, which is a group of session musicians who record together regularly. They compete in the 1973 national song contest, playing in Dublin venues and on radio shows. The group has two top ten Irish hits. Their 1973 album, Family Pride, is not a chart success, however. She represents Ireland at a number of international contests and festivals as a solo artist, releasing a few singles and an unsuccessful album with CBS Records, Are You Ready (1977). She is a backing singer for two of Ireland’s entries to the Eurovision Song Contest in 1974 and 1980. She is a regular in stage musicals from the mid to late 1970s, in productions such as the tribute shows to Jacques Brel (1974) and Bing Crosby (1978), sometimes performing alongside her brother John Kavanagh. From the late 1970s she appears in pantomimes with Maureen Potter.

In 1984 Bushnell stars in a musical based on the life of Édith Piaf, No Regrets, written specially for her by Leland Bardwell. She is lauded for capturing Piaf’s stage presence and husky voice. The show suffers when it has to move from the Gaiety Theatre to the National Stadium. She reworks it into a successful one-woman show called The Little Sparrow and also devises a one-woman tribute to Judy Garland. Her cabaret act in the late 1980s is highly successful, featuring big numbers by Brel, Garland, and Piaf. Due to her talent at singing blues and jazz, she is awarded the freedom of New Orleans by its mayor in 1986.

Bushnell struggles with depression brought on initially by an underactive thyroid and later exacerbated by her father’s death and her husband’s unemployment in the late 1980s. Disheartened by the lack of recognition in Ireland and her family’s financial difficulties, she considers emigrating or returning to her career as a typist. To aid with her depression, she takes up painting in 1992, holding a number of exhibitions in Dublin. She continues to sing regularly until her death, often at events for charity. She is awarded the Cheshire Foundation award in 1994 for her charitable work. She also appears in the film Agnes Browne.

Bushnell dies of cancer on April 21, 2011, in Tallaght University Hospital, County Dublin, and is cremated at Mount Jerome Crematorium.


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Birth of Shakespearean Actress Harriet Smithson

Harriet Constance Smithson, Anglo-Irish Shakespearean actress of the 19th century and best known as the first wife and muse of Hector Berlioz, is born at Ennis, County Clare on March 18, 1800.

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 tragedy The 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)


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Birth of William Vincent Wallace, Composer & Musician

william-vincent-wallace

William Vincent Wallace, Irish composer and musician, is born at Colbeck Street, Waterford, County Waterford on March 11, 1812. In his day, he is famous on three continents as a double virtuoso on violin and piano. Nowadays, he is mainly remembered as an opera composer of note, with key works such as Maritana (1845) and Lurline (1847/60), but he also writes a large amount of piano music that is much in vogue in the 19th century.

Wallace’s father, Spencer Wallace of County Mayo, becomes a regimental bandmaster with the North Mayo Militia based in Ballina. William is born while the regiment is stationed for one year in Waterford. The family returns to Ballina in 1816 and he spends his formative years there, taking an active part in his father’s band and already composing pieces by the age of nine for the band recitals.

Under the tuition of his father and uncle, Wallace writes pieces for the bands and orchestras of his native area. He becomes accomplished in playing various band instruments before the family leaves the Army in 1826, moving from Waterford to Dublin, and becoming active in music in the capital. He learns to play several instruments as a boy, including the violin, clarinet, organ, and piano. In 1830, at the age of 18, he becomes organist of the Roman Catholic Cathedral at Thurles, County Tipperary, and teaches music at the Ursuline Convent there. He falls in love with a pupil, Isabella Kelly, whose father consents to their marriage in 1832 on condition that Wallace become a Roman Catholic. The couple soon moves to Dublin where he is employed as a violinist at the Theatre Royal.

Economic conditions in Dublin deteriorate after the Acts of Union 1800 and the whole Wallace family decides to emigrate to Australia in 1835. Wallace’s party first lands at Hobart, Tasmania in late October, where they stay several months before moving on to Sydney in January 1836. The Wallaces open the first Australian music academy in April. Wallace has already given many celebrity concerts in Sydney, and being the first virtuoso to visit the Colony, becomes known as the “Australian Paganini.” He is also active in the business of importing pianos from London, but his main activity involves many recitals in and around Sydney under the patronage of the Governor, General Sir Richard Bourke. The most significant musical events of this period are two large oratorio concerts on behalf of the organ fund at St. Mary’s Cathedral in Sydney in 1836 and 1838, which he directs, and which utilize all the available musical talent of the Colony, including the recently formed Philharmonic [Choral] Society.

In 1838, Wallace separates from his wife and begins a roving career that takes him around the globe. In 1841, he conducts a season of Italian opera in Mexico City. Moving on to the United States, he stays in New Orleans for some years, where he is feted as a virtuoso on violin and piano, before reaching New York City, where he is equally celebrated, and publishes his first compositions (1843–44).

Wallace arrives in London in 1845 and makes various appearances as a pianist. In November of that year, his opera Maritana is performed at the Theatre Royal, Drury Lane with great success, and is later presented internationally. Maritana is followed by Matilda of Hungary (1847), Lurline (1847/60), The Amber Witch (1861), Love’s Triumph (1862) and The Desert Flower (1863). He also publishes numerous compositions for the piano.

In New York in 1843–1844, Wallace is associated with the early concert seasons of the New York Philharmonic Society, and in 1853 is elected an Honorary (Life) Member of the Society. In 1854, he becomes an American citizen after a marriage in New York to German-born pianist Hélène Stoepel, sister of composer Robert Stoepel. In later years, having returned to Europe for the premieres of his later operas, he develops a heart condition for which he receives treatment in Paris in 1864. He dies in poor circumstances at the Château de Bagen, Sauveterre-de-Comminges, in the Haute Garonne on October 12, 1865. He is buried in Kensal Green Cemetery, London.

(Pictured: William Vincent Wallace. Undated portrait by Mathew Brady, New York City, Library of Congress)


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Founding of the Irish Women’s Franchise League

irish-womens-franchise-league

The Irish Women’s Franchise League (IWFL), an organisation for women’s suffrage, is established in Dublin on November 4, 1908. Its founder members include Hanna Sheehy-Skeffington, Francis Sheehy-Skeffington and James H. Cousins. Thomas MacDonagh is also a member. The IWFL has 1,000 members by 1912 but only about fifty of these are active.

In the early 20th century, the Irish Parliamentary Party under John Redmond and his deputy John Dillon is opposed to votes for women, as is the British prime minister, H. H. Asquith.

In June 1912, after a meeting of a number of women’s organisations, Hanna Sheehy-Skeffington and Margaret Cousins with six other members of the IWFL smash government windows in the General Post Office (GPO) and other government buildings. They are arrested, charged, and jailed. The following month Asquith makes a visit to Dublin to address a meeting in the Theatre Royal. Frank Sheehy-Skeffington manages to gain entrance and demands votes for women before being thrown out. Meanwhile Asquith’s carriage is attacked by British suffragists Mary Leigh and Gladys Evans. In that attack John Redmond is injured. Leigh and Evans go on hunger strike in Mountjoy Gaol, and are joined by the imprisoned Irish IWFL members in solidarity.

In March 1913 a bust of John Redmond in the Royal Hibernian Academy is defaced by a suffragist protesting against the failure of the Irish Parliamentary Party to support a Women’s Franchise Bill in the House of Commons. In contrast, as a mark of solidarity with the women, James Connolly travels from Belfast to Dublin to speak at one of the IWFL’s weekly meetings which is held in the Phoenix Park, and members of the Irish Transport and General Workers’ Union (ITGWU) provide protection and offer escorts to women as they leave the meetings.

Hanna Sheehy-Skeffington loses her teaching job in 1913 when she is arrested and put in prison for three months after throwing stones at Dublin Castle. While in jail she starts a hunger strike but is released under the Prisoners (Temporary Discharge of Ill Health) Act 1913 and is soon rearrested.

The league keeps a neutral stance on Home Rule, but is opposed to World War I. After the killing of Francis Sheehy-Skeffington by a British officer in 1916, it supports Sinn Féin.

The Irish Women’s Franchise League publishes a paper, The Irish Citizen, from 1912 to 1920. The paper is edited originally by James H. Cousins.


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The Bottle Riot

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On December 14, 1822, a “bottle riot” takes place at a performance of Oliver Goldsmith’s She Stoops to Conquer at the Theatre Royal in Dublin. Among those in attendance is the Lord Lieutenant of Ireland, Richard Wellesley, the brother of the Duke of Wellington. Wellesley is quite unpopular at the time among Orange Order members in the city, owing to what they perceive as his role in stopping an annual ceremony at the statue of King William of Orange on College Green, and other perceived concessions to the Catholic population.

The statue is the location for annual rituals organised by loyalist elements in the city, with events held in July and November being flashpoints on the Dublin calendar. Heavily criticised by Daniel O’Connell and other nationalist voices, Dublin Castle distances itself from the ceremonies, but it is the eventual banning of the November ceremony which infuriates the Orange Order into action.

Following clashes at the event in July 1822, a decision is made by Marquess Wellesley, in his capacity as Lord Lieutenant, to seek a ban against the November event. A heavy military presence prevents the traditional loyalist display. This decision causes great resentment towards Wellesley from loyalists in the city, as would other actions such as appointing a Catholic lawyer to a position of importance in the courts. A visit by him to the Theatre Royal is seen as an opportunity to show that discontent. The Theatre Royal on Hawkins Street is relatively new at the time, having only opened the previous year. The announcement that the Lord Lieutenant would be attending the theatre causes considerable excitement in the city.

Six men meet in a tavern on Wednesday, December 11, all members of the Orange Order. John and George Atkinson, James Forbes, William Graham and Henry and Matthew Handwith drink to “the glorious, immortal and pious memory” of King William of Orange, plotting a protest against the Lord Lieutenant which would grab the attention of the city. On December 13, a meeting of Lodge 1612 of the Orange Order on Werburgh Street decides to fund the purchase of twelve pit tickets for the upcoming play, with the aim of creating a scene which would embarrass the Lord Lieutenant.

The trouble begins inside the theatre with the tossing of pamphlets with the slogan “No Popery” upon them, most of which drift towards the stage. There are some cries of “No Popish Lord Lieutenant,” and the Lord Mayor of Dublin is also subject to ridicule. The play begins as planned, only to be interrupted throughout. A series of items are thrown in the direction of the Lord Lieutenant. The event comes to be known as “The Bottle Riot” in Dublin, owing to the missiles thrown. While the Lord Lieutenant is never in any real physical danger, the incident is hugely embarrassing for the authorities, with mob rule taking centre stage at one of Dublin’s most prestigious venues.

Several days later, the behaviour of the Orangemen is the subject of a protest meeting in Dublin. This meeting is significant as it is addressed by some hugely influential figures, including the Duke of Leinster, Daniel O’Connell, Henry Grattan, Jr. and Arthur Guinness II, son of the famous brewer. Guinness denounces the men as a “mischievous faction” and calls for them to be opposed “by the severe but wholesome discipline of the laws.”

While the instigators of the affair are brought in front of the courts on two separate occasions, both cases collapse causing much anger. Lord Chief Justice of Ireland Charles Kendal Bushe remarks to the jury in his summation that “an audience may cry down a play, or hiss, or hoot an actor,” but that riotous behaviour is not permitted. One effect of the mini riot is the outlawing of the Orange Order for a period, when the Unlawful Societies Act of 1825 comes into being.

(Pictured: Undated postcard showing the monument of King William of Orange on College Green)


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Birth of Actress Margaret “Peg” Woffington

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Margaret “Peg” Woffington, well-known Irish actress in Georgian London, is born of humble origins in Dublin on October 18, 1720.

Woffington’s father is believed to have been a bricklayer, and, after his death, the family becomes impoverished. Her mother is obliged to take in washing while Peg sells watercress door to door. It is said that she is walking through a marketplace as a pre-teen and happens upon Madame Signora Violante, a famous tightrope walker. Violante is so immediately enthralled by Peg’s beautiful face that she accompanies her home and asks her mother permission to take her in as her apprentice.

Around 1730, Violante features Woffington as Polly Peachum in a production of John Gay’s The Beggar’s Opera. This serves as a springboard for her fame in Dublin, and she continues dancing and acting in the area playing Dorinda in an adaptation of The Tempest at the Theatre Royal, Dublin in 1735 and joining the Smock Alley Theatre to perform with well-known actor David Garrick.

Woffington dances and acts at various Dublin theaters until her success as Sir Harry Wildair in The Constant Couple leads to her being given her London debut at Covent Garden. She becomes well known as an actress thereafter.

Woffington enjoys success in the role of Sylvia in The Recruiting Officer. She performs at Drury Lane for several years and later returns to Dublin, appearing in a variety of plays. Her most well-received performances are in comic roles, such as elegant women of fashion like Lady Betty Modish and Lady Townley, and breeches roles. She is impeded in the performance of tragedy by a harsh tone in her voice that she strives to eliminate.

Woffington lives openly with David Garrick, the foremost actor of the day, and her other love affairs are numerous and notorious. She becomes friend and mentor to the socialite/actress sisters, Elizabeth and Maria Gunning, and also shares the stage with the likes of Charles Macklin, Kitty Clive, and the tragedienne Susannah Maria Arne.

Though Woffington is popular with society figures, she is not always favored by her competition. She tends to create rivalries with similar-type actresses at Drury Lane and Covent Garden. Her fiercest rivalry is with “equally peppery” actress Kitty Clive. According to Garrick biographer Thomas Davies, “No two women in high life ever hated each other more unreservedly than these two great dames of the stage.” When she returns to Covent Garden, rivalries with these women and with the manager, John Rich, eventually send her back to Dublin, where she is unrivaled and celebrated at the Smock Alley Theatre.

Rich decides to start a Beefsteak Club in 1749, also known as the Sublime Society of Steaks or “the Club.” Some of its members include Garrick and William Hogarth, as well as many other London celebrities. Not only is Woffington the first female member of the all-male dining club, in 1750 she becomes president of the club by election. She also educates and supports her sister and cares for and pensions her mother.

For whatever reason, Woffington leaves Garrick in about 1744 and moves to Teddington, into a house called Teddington Place. In 1754 she becomes the beneficiary of the will of the Irish impresario Owen Swiny. In 1756, she performs the part of Lady Randolph in Douglas, a part which finds a later exponent in Sarah Siddons.

On May 3, 1757, Woffington is playing the part of Rosalind in As You Like It when she collapses on stage. She rallies but would never act again, lingering with a wasting illness. She dies in Queen Square, Westminster on March 28, 1760. She is buried in St. Mary with St. Alban, the parish church in Teddington.


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Birth of John Brougham, Actor & Dramatist

john-brougham

John Brougham, Irish American actor and dramatist, is born in Dublin on May 9, 1814.

Brougham’s father is an amateur painter and dies young. His mother is the daughter of a Huguenot, whom political adversity has forced into exile. He is the eldest of three children. Both of his siblings die in youth, and the father being dead, and the widowed mother left penniless, he is reared in the family and home of an uncle.

Brougham is prepared for college at an academy at Trim, County Meath, twenty miles from Dublin, and subsequently is sent to the University of Dublin. There he acquires classical learning and forms interesting and useful associations and acquaintances. He also becomes interested in private theatricals. He falls in with a crowd that puts on their own shows, cast by drawing parts out of a hat. Though he most always trades off larger roles so he can pay attention to his studies, he takes quite an interest in acting. He is a frequent attendant, moreover, at the Theatre Royal in Hawkins Street.

Brougham is educated with the intention of his becoming a surgeon and walks the Peth Street Hospital for eight months. However, misfortune comes upon his uncle, so he is obliged to provide for himself. Before leaving the university he, by chance, becomes acquainted with the actress Lucia Elizabeth Vestris.

Brougham goes to London in 1830 and, after a brief experience of poverty, suddenly determines to become an actor. He is destitute of everything except fine apparel, and he has actually taken the extreme step of offering himself as a cadet in the service of the East India Company. But, being dissuaded by the enrolling officer, who lends him a guinea and advises him to seek other employment, and happening to meet with a festive acquaintance, he seeks recreation at the Tottenham Theatre where Madame Vestris is acting.

Brougham’s acquaintance with Madame Vestris leads to him being engaged at the theatre, and he thus makes his first appearance on the London stage in July in Tom and Jerry, in which he plays six characters. In 1831 he is a member of Madame Vestris’s company and writes his first play, a burlesque. He remains with Madame Vestris as long as she and Charles Mathews retain Covent Garden Theatre, and he collaborates with Dion Boucicault in writing London Assurance, the role of Dazzle being one of those with which he becomes associated. His success at small or “low” comic roles such as Dazzle earn him the nickname “Little Johnny Brougham,” a moniker which he embraces, and which boosts his popularity with working-class audiences.

In 1840 Brougham manages the Lyceum Theatre, for which he writes several light burlesques, but in 1842 he moves to the United States, where he becomes a member of William Evans Burton‘s company, for which he writes several comedies, including Met-a-mora; or, the Last of the Pollywogs, a parody of John A. Stone and Edwin Forrest’s Metamora; or The Last of the Wamponoags, and Irish Yankee; or, The Birthday of Freedom.

Later Brougham is the manager of Niblo’s Garden, and in 1850 opens Brougham’s Lyceum, which, like his next speculation, the lease of the Bowery Theatre, is not a financial success, despite the popularity of such works as Po-ca-hon-tas; or, The Gentle Savage. He is later connected with James William Wallack‘s and Augustin Daly‘s theatres and writes plays for both.

In 1860 Brougham returns to London, where he adapts or writes several plays, including The Duke’s Motto for Charles Fechter. In November 1864 he appears at the Theatre Royal in his native Dublin in the first performance of Dion Boucicault’s Arrah-na-Pogue with Boucicault, Samuel Johnson and Samuel Anderson Emery in the cast.

After the American Civil War Brougham returns to New York City. Brougham’s Theatre is opened in 1869 with his comedies Better Late than Never and Much Ado About a Merchant of Venice, but this managerial experience is also a failure due to disagreements with his business partner, James Fisk. He then takes to playing the stock market. His last appearance onstage is in 1879 as “O’Reilly, the detective” in Boucicault’s Rescued.

John Brougham dies in Manhattan on June 7, 1880.


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Birth of Irish Actor Spranger Barry

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Spranger Barry, actor, is born in Skinner’s Row, Dublin, on November 23, 1719. Barry is the son of a silversmith, to whose business he is brought up. He takes over the business but is not successful.

His first appearance on the stage is at the Theatre Royal, Smock Alley, Dublin, on the February 5, 1744, and this engagement at once increases its prosperity. His first London appearance is made in 1746 as Othello at the Theatre Royal, Drury Lane. Here his talents are speedily recognized, and in Hamlet and Macbeth he alternates with David Garrick, arousing the latter’s jealousy by his success as Romeo. This results in his leaving Drury Lane for the Covent Garden Theatre in 1750, accompanied by Susannah Maria Cibber, his Juliet. Both houses simultaneously put on Romeo and Juliet for a series of rival performances, and Barry’s Romeo is preferred by the critics to Garrick’s.

In 1758, Barry opens the Crow Street theatre in Dublin, and later a new theatre in Cork. He stages many successful productions but seems to have lived beyond his means. In 1767 he returns to London to play at the Haymarket Theatre, then under the management of Samuel Foote. As his second wife, he marries in 1768 the actress Ann Street Dancer, and he and Mrs. Barry play under Garrick’s management, Barry appearing in 1767, after ten years absence from the London stage, in Othello, his greatest part. In 1774 they both move to Covent Garden, where Barry remains until his death on January 10, 1777.