Lester is born on September 28, 1888, in Carrickfergus, County Antrim, as John Ernest Lester, the son of a Protestant grocer Robert Lester and his wife, the former Henrietta Ritchie. Although the town of Carrickfergus is strongly Unionist, he joins the Gaelic League as a youth and is won over to the cause of Irish nationalism. As a young man, he joins the Irish Republican Brotherhood (IRB). He works as a journalist for the North Down Herald and a number of other northern papers before he moves to Dublin, where he finds a job at the Freeman’s Journal. By 1919, he has risen to its news editor.
After the Irish War of Independence, a number of Lester’s friends join the new government of the Irish Free State. He is offered and accepts the position as director of publicity.
Lester marries Elizabeth Ruth Tyrrell in 1920 by whom he has three daughters.
In 1923, Lester joins Ireland’s Department of External Affairs. He is sent to Geneva in 1929 to replace Michael MacWhite as Ireland’s Permanent Delegate to the League of Nations. In 1930, he succeeds in organising Ireland’s election to the Council (or executive body) of the League of Nations for three years. He often represents Ireland at Council meetings and stands in for the Minister for External Affairs. He becomes increasingly involved in the work of the League, particularly in its attempts to bring a resolution to two wars in South America. His work brings him to the attention of the League Secretariat and begins his transformation from national to international civil servant.
When Peru and Colombia have a dispute over a town in the headwaters of the Amazon River, Lester presides over the committee that finds an equitable solution. He also presides over the less-successful committee when Bolivia and Paraguay go to war over the Gran Chaco.
In 1933, Lester is seconded to the League’s Secretariat and sent to Danzig (now Gdańsk, Poland), as the League of Nations’ High Commissioner from 1934 to 1937. The Free City of Danzig is the scene of an emerging international crisis between Nazi Germany and the international community over the issue of the Polish Corridor and the Free City’s relationship with the Third Reich. He repeatedly protests to the German government over its persecution and discrimination of Jews and warns the League of the looming disaster for Europe. He is boycotted by the representatives of the German Reich and the representatives of the Nazi Party in Danzig.
Lester returns to Geneva in 1937 to become Deputy Secretary General of the League of Nations. In 1940, he becomes Secretary General of the body, becoming the League’s leader a year after the beginning of World War II which shows that the League has failed its primary purpose. The League has only 100 employees, including guards and janitors, out of the original 700.
Lester remains in Geneva throughout the war and keeps the League’s technical and humanitarian programs in limited operation for the duration of the war. In 1946, he oversees the League’s closure and turns over the League’s assets and functions to the newly established United Nations.
Despite rumours that he would be prepared to stand for election as President of Ireland, Lester seeks no permanent office and retires to Recess, County Galway, in the west of Ireland, where he dies on June 13, 1959. In its obituary, The Times describes him as an “international conciliator and courageous friend of refugees.”
In August 2010, a room in the Gdańsk City Hall, the building that had been Lester’s residence during his stay, is renamed by Mayor Paweł Adamowicz as the Seán Lester Room.
O’Connor is born on June 7, 1874, at Worcester, Massachusetts, the eldest of three sons and two daughters of Andrew O’Connor, a stonecutter from Lanarkshire, Scotland, who becomes a professional sculptor, and Marie Anne O’Connor (née McFadden), of County Antrim. Educated in Worcester public schools, at the age of 14 he becomes apprenticed to his father, helping him to design monuments for cemeteries. He is employed in the early 1890s on sculptural work for the World’s Columbian Exposition (Chicago World’s Fair), being active in the studio of William Ordway Partridge, and assisting Daniel Chester French on his colossal Statue of the Republic, a landmark of the 1893 Columbian exposition.
Moving to London (1894–98), O’Connor works on bas-reliefs in the studio of the painter John Singer Sargent, who uses him as a model for his mural Frieze of Prophets for the Boston Public Library. His first independent work, Sea Dreams, a relief of a head, is exhibited at the Royal Academy of Arts in 1896. Returning to the United States (1898–1903), he becomes a studio assistant of French, through whom he receives his first public commission, for the Vanderbilt Memorial Doors for St. Bartholomew’s Episcopal Church, Manhattan, New York, a project completed in 1902 to wide critical acclaim. He also executes the tympanum and lateral friezes.
Around 1900, O’Connor marries an artist’s model named Nora, by whom he has a daughter. In 1902, he hires as studio model Jessie Phoebe Brown from New Jersey and of County Down parentage. The following year he elopes with her to Paris, where they marry and have four sons, the youngest of whom, Patrick O’Connor, becomes an artist and gallery curator. Jessie continues for many years as his primary model, sitting for the heads of both female and male figures, O’Connor coarsening the features for the latter.
During his years in Paris (1903–14), O’Connor is influenced by the work of Auguste Rodin, whom he befriends. Among his pupils in Paris is the American sculptor and heiress Gloria Vanderbilt Whitney. He continues to fulfil numerous commissions for funerary and public monuments in the United States, an example of the former being the Recuillement in Sleepy Hollow Cemetery, near Tarrytown, New York. From 1906 he exhibits annually at the Salon in Paris, where he is the first foreigner to win a second-class medal, for his bronze statue of Gen. Henry Lawton. Included in his only exhibition at the Royal Hibernian Academy (1907) is a bronze relief of the prophet Nehemiah adapted from a panel of the Vanderbilt doors. The relief is subsequently included in his one-man show at the Galerie Hébrard, Paris in 1909.
In 1909, O’Connor wins a competition open to sculptors of Irish descent to execute a monument to Commodore John Barry, the County Wexford-born “father of the American navy,” for Washington, D.C. His design includes a frieze depicting events in Irish history, flanked by a group of three nude Irish emigrants entitled Exile from Ireland, and another group representing the Genius of Ireland, which includes a female figure of the “Motherland.” Probably owing to opposition from the Barry family to the depiction of their ancestor as a rough-and-ready sailor, the commission is not completed. His marble statue of Gen. Lew Wallace (author of Ben-Hur: A Tale of the Christ), a plaster of which is exhibited at the Salon in Paris in 1909, is placed by the state of Indiana in the National Statuary Hall in the United States Capitol, Washington, D.C. Another marble, Peace by Justice, is commissioned as a gift from the United States to the Peace Palace in The Hague in 1913.
Returning to Paris in the mid-1920s, O’Connor becomes the first foreigner to win a gold medal at the Salon des Artistes in 1928, for the marble sculpture Tristan and Iseult, now held in the Brooklyn Museum, New York. The French government makes him a Chevalier of the National Order of the Legion of Honour in 1929. In 1926 he had exhibited a plaster group, Monument aux morts de la Grande Guerre, at the Salon in Paris. The sculpture is requested in 1932 by the people of Dún Laoghaire, County Dublin, as a memorial to Christ the King, O’Connor obligingly altering the interpretation of his iconography. Imposed on a “Tree of life” are three figures of Christ, representing in turn “Desolation,” “Consolation” and “Triumph.” Cast in bronze, throughout World War II the statue remains hidden in Paris to avoid its being melted down for the valuable metal. Transported to Dún Laoghaire in 1949, due to clerical opposition to its unconventional iconography, it is not at first erected, but for years lay on its side in a garden in Rochestown Avenue until its eventual unveiling in 1978 as Triple Cross in Haigh Terrace, where it stands in Moran Park. His other chief work in Ireland is a bronze statue of Daniel O’Connell in the Bank of Ireland, College Green, Dublin. Inspired by Rodin’s famous Monument to Balzac, the work is executed at his studio in a converted stable at Leixlip Castle, County Kildare in 1931–32.
During the 1930s, O’Connor lives and works in London and Ireland, where he has residences at Glencullen House, County Wicklow, and 77 Merrion Square, Dublin. He dies at the latter address on June 9, 1941, and is buried in Glasnevin Cemetery. His own bronze relief, Le feu sacré, marks the grave. A portrait painting, executed by his son Patrick in 1940, is in Dublin City Gallery The Hugh Lane, which also holds twenty-six sculptures presented by O’Connor late in his life, and posthumously by his family. The collection includes a marble self-portrait bust of 1940, a bronze of the Lafayette cast by the gallery in 1984 from a reduced plaster model presented by the artist, and a bronze group entitled The Victim, on view in Merrion Square Park, from an uncommissioned and uncompleted war memorial conceived by O’Connor under the general title Le Débarquement. The National Gallery of Ireland has the Desolation maquette for the Triple Cross. A centenary exhibition of his work is held at Trinity College Dublin in 1974. His widow dies in Dublin in 1974.
(From: “O’Connor, Andrew” by Lawrence William White and Carmel Doyle, Dictionary of Irish Biography, http://www.dib.ie, October 2009)
McCabe resigns his Dáil seat on October 30, 1924, along with several other TDs, and the resulting by-election on March 11, 1925, is won by the Cumann na nGaedheal candidate Martin Roddy. He does not stand for public office again and returns to his post as a schoolteacher.
In the 1930s McCabe is involved with the short-lived but widely followed Irish Christian Front (ICF), serving as the organisation’s secretary and announcing its creation to the public on August 22, 1936. He is also a member of the Blueshirts during this period and later the Irish Friends of Germany (later known as the “National Club”) during World War II, a would-be Nazi Collaborator group in the event Germany were to invade Ireland. He chairs their meetings, denies the group is a fifth column and expresses the belief that a German victory will lead to a United Ireland. He is interned in 1940–41 because of his pro-German sympathies, which he claims resulted from the desire to “see the very lifeblood squeezed out of England.”
In 1935, McCabe co-founds the Educational Building Society with Thomas J. O’Connell. He retires from teaching in the 1940s and becomes the full-time managing director of the EBS.
McCabe dies in Dublin on May 31, 1972, leaving his wife, son, and three daughters. There is a bronze bust of him in the headquarters of the Educational Building Society, Westmoreland Street, Dublin.
Frederick Edward McWilliamCBERA, Northern Irish surrealistsculptor, dies in London on May 13, 1992. He works chiefly in stone, wood and bronze. His style of work consists of sculptures of the human form contorted into strange positions, often described as modern and surreal.
McWilliam is born in Banbridge, County Down,on April 30, 1909, the son of Dr. William McWilliam, a local general practitioner. Growing up in Banbridge has a great influence on his work. He makes references to furniture makers such as Carson the Cooper and Proctors in his letters to his friend, Marjorie Burnett.
McWilliam attends Campbell College in Belfast and later attends Belfast College of Art from 1926. After 1928, he continues to study at the Slade School of Fine Art in London. He originally intends to become a painter, but influenced by Alfred Horace Gerrard, head of the sculpture department at the Slade, and by Henry Moore whom he meets there, he turns to sculpture. He receives the Robert Ross Leaving Scholarship which enables him and his wife, Beth (née Crowther), to travel to Paris where he visits the studio of Constantin Brâncuși.
During the first year of World War II, he joins the Royal Air Force and is stationed in England for four years where he is engaged in interpreting aerial reconnaissance photographs. He is then posted to India. While there he teaches art in the Hindu Art School in New Delhi.
After his return from India, McWilliam teaches for a year at the Chelsea School of Art. He is then invited by A. H. Gerrard to teach sculpture at the Slade. He continues in this post until 1968.
During the Northern IrelandTroubles McWilliam produces a series of bronzes in 1972 and 1973 known as Women of Belfast in response to the bombing at the Abercorn Tea-Rooms.
In 1964 McWilliam is awarded an Honorary Doctor of Letters from Queen’s University Belfast. In 1966 he is appointed CBE and in 1971 he wins the Oireachtas Gold Medal. He is represented in many public collections, including the Museum of Modern Art in New York City and Tate Britain in London. In 1984 the National Self-Portrait Gallery purchases a McWilliam self-portrait amongst acquisitions from fellow Northerners Brian Ballard, Brian Ferran and T. P. Flanagan.
Cummins begins to study at UCC in 1912. At that time, there are 78 women students out of the 420 students enrolled. She graduates with an engineering degree in 1915. During her time in engineering, she is editor of the Journal of the Engineering Society.
While she is in college, Cummins is on the Ireland field hockey team. She earns her first “cap” for hockey in 1914 and leads the college hockey team to victory in the Munster cup. The Irish hockey team tours the United States in 1925 with Cummins as the captain. With the team she goes to the White House at the invitation of Calvin Coolidge.
Cummins works for the Royal Arsenal with the munitions factory at Woolwich, London, and then the Vickers Limited factory at nearby Erith. She works in a shipyard in Scotland during World War I between 1915 and 1916 before returning to Cork. Initially, she finds it difficult to find work there.
In 1924, Cummins founds a private practice in the city and works there until 1927 at which time she is appointed to the Irish Land Commission in Dublin. She moves to Dublin and although she visits, she never returns to live in Cork. She retires from the Land Commission in 1954.
Cummins is a Council member of the Women’s Engineering Society, having joined at the organisation’s inception. In December 1919, she writes an encouraging article in the very first edition of the society’s journal, The Woman Engineer. Based on her own Irish university experience, it lays out the practicalities of studies as well as social interactions likely to be encountered by a woman thinking of training as a civil engineer. The following year, she has another article published, this time in the Practical Engineer magazine, entitled The Suitability of Women for the Engineering Industries.
Twenty years later, in 1940, Cummins writes a lively piece entitled Women Engineers Overseas – in Eire for The Woman Engineer journal on her experiences as one of the earliest women engineers in Ireland. In this article, she recounts a tale of encountering the “oldest Inhabitant” of a very rural area, a proud owner of two fine horses, who on discovering “you must be an engineer, so would ye mind mending the electric light in the mare’s stable?”
Cummins dies at the age of 73 in Dublin on April 30, 1968.
(Pictured: Detail from photo of the 1913-14 2nd Year Engineering Class at University College Cork (UCC University Archives, OCLA, UCC))
On April 23, 1921, District Inspector Potter is captured by the 3rd (South) Tipperary Brigade, IRA, following the Hyland’s Cross Ambush. This occurs near Curraghcloney, close to the village of Ballylooby. The ambush party is initially made up of a combination of the 1st and 2nd Flying Columns of the 3rd Tipperary Brigade. This is the largest force assembled to date by the Tipperary IRA in anticipation of a major battle. However, the convoy of military lorries that is expected never materialises. Dan Breen and Con Moloney return to battalion headquarters, while Seán Hogan‘s Column withdraws northward in the direction of the Galtee Mountains.
As Dinny Lacey‘s (No.1) Column prepares to leave toward the south, a small party of British soldiers accompanying two horse-drawn carts unexpectedly approaches from Clogheen and are immediately fired upon. Amid some confusion Lacey’s scattered men withdraw southward toward the Knockmealdown Mountains. One British soldier, Frank Edward Conday, is fatally wounded and two others from the relieving party are wounded. Reports that army lorries are burned during the exchange may have been abandoned by the relieving soldiers sent from Clogheen.
By chance, Potter, who is returning by car from police duties at Ballyporeen, drives into a section of the withdrawing No.1 Column. Although in mufti, he is recognised by one of the IRA volunteers and taken prisoner. As part of a new strategy, he is held as a hostage for the safe release of Thomas Traynor, an IRA volunteer (and father of ten young children), then under sentence of death at Mountjoy Gaol. The IRA offers to release Potter in exchange for Traynor’s release, however, Traynor is executed. Traynor has since been honoured by the Irish state as one of “The Forgotten Ten.”
The Column, under sporadic fire from soldiers alerted at the nearby Clogheen barracks, follow the contours of the mountains to the village of Newcastle. Losing their pursuers, they stay for a period of time at the townland of Glasha. Here Potter is detained in an out-building of a farm which is regularly used by the IRA as a safe house. From there the party is guided into the Nire Valley by a contingent of local Waterford Volunteers and on to the Comeragh Mountains.
Accounts from Rathgormack, County Waterford, suggest that Potter is kept for at least one night at a nearby ringfort before being taken down the hill to a field then owned by Powers of Munsboro, where he meets his ultimate fate. At 7:00 p.m., on April 27, following news of Traynor’s execution by hanging, he is shot to death and hastily buried in a shallow grave on the banks of the River Clodiagh. A diary he kept during his period of captivity and some personal effects and farewell letters are returned anonymously to his wife, Lilias. This is the first confirmation she has that he had been killed. The artifacts are later lost when his son’s ship is torpedoed in 1942, during World War II.
On May 18, three weeks after Potter’s death, a notice of officially sanctioned military reprisals appears in local newspapers.
During the Truce, by arrangement through specially appointed Liaison Officers, Potter’s body is disinterred by the IRA and conveyed to Clonmel where it is returned to his widow. Two days later his body is brought to Cahir and buried with full military honours at the Church of Ireland cemetery at Kilcommon, 4 kilometres south of the town. The funeral is presided over by Bishop Miller of Waterford and attended by the Band of the Royal Lincolnshire Regiment, the locally stationed Royal Field Artillery and officers and men of the RIC, takes place in the afternoon of August 30, 1921.
Shortly before her twelfth birthday, Hone suffers from polio (infant paralysis), suffering a fall while helping to decorate the Taney parish church for Easter. Her resulting ill health leads to her seeking treatment in Harley Street, Marylebone, Central London. She is educated by a governess, continuing her education in Switzerland, and goes on tours to Spain and Italy before moving to London in 1913. Her three sisters all marry British Army officers, and all are widowed in World War I.
Hone is extremely devout. She spends time in an Anglican Convent in 1925 at Truro in Cornwall and converts to Catholicism in 1937. This possibly influences her decision to begin working in stained glass. Initially, she works as a member of the An Túr Gloine stained glass co-operative before setting up a studio of her own in Rathfarnham.
Hone’s most important works are probably the East Window, depicting the Crucifixion, for the Chapel at Eton College, Windsor (1949–1952) and My Four Green Fields, now located in Government Buildings, Dublin. This latter work, commissioned for the Irish Government’s Pavilion, wins first prize for stained glass in the 1939 New York World’s Fair. It graces CIÉ‘s Head Office in O’Connell Street from 1960 to about 1983. The East Window of Eton College is commissioned following the destruction of the building after a bomb is dropped in 1940 on the school during World War II. She is commissioned to design the East Window in 1949, and the new window is inserted in 1952. This work is featured on an Irish postage stamp in 1969. From December 2005 to June 2006, an exhibition of her work is on display at the National Gallery of Ireland. Saint Mary’s church in Clonsilla also features her stained glass windows.
Despite ill health, Hone continues to produce a huge number of small stained glass panels as well as oils, watercolours, and gouache landscapes. In 1953, she is represented at the Contemporary Irish Art exhibition at Aberystwyth, Wales, and at the Tate gallery in London, receiving as well an honorary LLD from Trinity College Dublin (TCD). In 1954, she is elected an honorary member of the Royal Hibernian Academy (RHA).
Unmarried, Hone dies on March 13, 1955, while entering her parish church at Rathfarnham. She is survived by two of her sisters. Over 20,000 people visit a memorial exhibition of her work at University College Dublin (UCD), Earlsfort Terrace, Dublin, in 1958.
(Pictured: Portrait of Evie Hone by Hilda van Stockum)
Roupell is born into a military family. His father, Francis Frederick Fyler Roupell, having served with the British Army in the 70th (Surrey) Regiment of Foot and commanded the 1st Battalion, East Surrey Regiment from 1895 to 1899, is promoted to colonel in 1901. He had married Edith Maria Bryden at Kingston in 1887.
At the outbreak of war in the summer of 1914, the 1st Battalion the East Surreys are deployed as part of the British Expeditionary Force (BEF) into northern Belgium. Roupell commands a platoon in the BEF’s first major action, the Battle of Mons, in August 1914. He keeps a diary throughout the war, which has since been a, sometimes humorous, source of insight and observation on the events that he witnessed and participated in. In the trenches at Mons, he recounts how he had to hit his men on the backside with his sword in order to gain their attention and remind them to fire low as they had been taught.
Soon after, following the retreat from Mons in September 1914, Roupell leads his platoon in the First Battle of the Aisne. Once again, he comes under heavy fire, this time while crossing the Aisne on a raft. The Surreys’ advance is pushed back with heavy casualties.
On April 20, 1915, during the continued fighting around Ypres, Roupell is commanding a company of his battalion in a front trench on “Hill 60,” which is subjected to a most severe bombardment throughout the day. Although wounded in several places, he remains at his post and leads his company in repelling a strong German assault. During a lull in the bombardment, he has his wounds hurriedly dressed, and then insists on returning to his trench, which is again being subjected to severe bombardment. Toward evening, his company being dangerously weakened, he goes back to his battalion headquarters, represents the situation to his commanding officer, and brings up reinforcements, passing back and forth over ground swept by heavy fire. With these reinforcements he holds his position throughout the night, and until his battalion is relieved next morning. For these actions he is awarded the Victoria Cross.
Roupell is presented with his VC by King George V on July 12, 1915. In addition to his Victoria Cross, he is awarded the Russian Order of St. George (4th Class) and the French Croix de guerre and is mentioned in dispatches. He is retrospectively appointed temporary captain with effect from December 29, 1914, to April 20, 1915, inclusive, and again later the same year.
Roupell is aboard TSS The Queen when it is captured and sunk in the English Channel in October 1916. He is appointed acting brigade major on December 29, 1917. On May 9, 1918, he is seconded to the general staff with the rank of temporary major.
Following the end of hostilities in Europe, Roupell, still an acting major, is promoted to acting lieutenant colonel in charge of a battalion from December 1918 to March 1919. His appointment to the general staff is confirmed on July 1, 1919. During this time, he is attached to the allied force under Edmund Ironside and sent to support Tsarist Russians as part of the Allied intervention in the Russian Civil War. On a visit to a Tsarist unit, they mutiny, and he and others are taken prisoner near Arkhangelsk, sent to Moscow, and finally repatriated in 1920.
Early in 1921, Roupell marries Doris P. Sant in Paddington. Daughter Phoebe and son Peter are born in 1922 and 1925, respectively.
Roupell’s inter-war military career continues with appointments as staff captain (1921), brigade major (1926), and promotion to substantive major (1928). During the inter-war period, he serves in Gibraltar, the Regimental Depot, India and the Sudan and he attends the Staff College, Camberley. As major (GSO2), he spends two years from 1929 at the Royal Military College of Canada, and in 1934 a year with the British troops in China. Following his return, he is promoted to lieutenant colonel in 1935.
At the outbreak of World War II, in September 1939, Roupell is promoted to colonel and made an acting brigadier, placed in command of 36th Infantry Brigade from October 7, 1939. His brigade is deployed as part of the 12th (Eastern) Division in April 1940 and becomes part of the British Expeditionary Force (BEF), taking part in the Battle of France. The German thrust near the river Somme toward Abbeville eventually cuts off the BEF, northern French and Belgian forces from the rest of France. His brigade headquarters near Doullens is attacked by enemy troops and, on being told of the threat, he exclaims, “Never mind the Germans. I’m just going to finish my cup of tea.”
When the brigade headquarters is overrun on May 20, 1940, Roupell gives the order for the survivors to split up into small groups and endeavour to re-contact Allied troops. He, with a captain and French interpreter, avoid capture, hiding by day and walking at night for over a month. They arrive at a farm near Rouen where the two officers remain for almost two years, working as labourers. With the help of the French Resistance, they are moved through unoccupied France into non-belligerent Spain, finally boarding a ship in Gibraltar and returning to the United Kingdom.
Following his return, Roupell is appointed commanding officer of the 114th Brigade, part of the 38th (Welsh) Infantry Division, on March 18, 1943, a command he holds until November 2 of that year. The brigade is not destined to see battle, however, and he is soon appointed as garrison commander at Chatham, where he remains until retirement.
In 1946, Roupell is formally retired from the army on retirement pay and granted the honorary rank of brigadier and, at the age of 58, is excused from the reserve list of officers in 1950. He is appointed a Deputy lieutenant of Surrey in 1953.
In 1954, Roupell is appointed Colonel of the East Surreys, succeeding Lieutenant General Arthur Dowler, and is to be the last Colonel of the East Surrey Regiment, relinquishing office in 1959 when amalgamation with the Queen’s Royal Regiment (West Surrey) takes place to form the Queen’s Royal Surrey Regiment. He is appointed a Companion of the Order of the Bath in 1956.
Roupell dies at the age of 81 in Shalford, Surrey, on March 4, 1974. His body is cremated at Guildford Crematorium, where his ashes are scattered.
McKenna is born Kathleen Maria Kenna on September 9, 1897, in Oldcastle, County Meath. Her parents are William, a draper and hardware merchant, and Mary Kenna (née Hanley). She is the eldest child of seven, with three sisters and three brothers. She and her siblings add “Mc” to their surname as teenagers. Her maternal grandfather, a Fenian, miller and land agitator, is a strong influence on her. Agnes O’Farrelly is her paternal great aunt. She attends the Oldcastle Endowed School and goes on to pass the National University of Ireland (NUI) matriculation examination. She attends University College Dublin (UCD) briefly, but the family’s circumstances prevent her from completing her course.
McKenna’s father had been an active member of the Irish National Land League and the Meath Labour Union. He is one of the organisers of a short-lived local newspaper, Sinn Féin – Oldcastle Monthly Review, in 1902. Both her parents are members of Conradh na Gaielge. Arthur Griffith and Brian O’Higgins frequently visit the family home. Denounced by the local parish priest, Fr. Robert Barry, her father’s business goes into decline. The family leaves Oldcastle and moves to Dundalk in August 1915, and to Rugby, Warwickshire, England, in March 1916. In Rugby, her father teaches typing and shorthand, and her mother works in an ammunition factory. She works as a secretary for an engineering firm. Members of the family return to Ireland from 1919 to 1922, and by the time of her father’s death in 1939, he is living back in Oldcastle.
McKenna spends some holidays in Ireland and, during a visit to Dublin in the summer of 1919, she presents herself to the Sinn Féin offices in Harcourt Street. She has a letter of introduction from her father to Griffith, which emphasises her willingness to work for Irish independence. For her holidays, she works in the Sinn Féin press bureau and is employed as one of the first “Dáil girls” of the clandestine government. She is informed that if a planned news bulletin comes through, she will be summoned back to Dublin. In October 1919, she receives that summons and, after a typing test on November 11, she joins the Irish Bulletin under Minister for Publicity, Desmond FitzGerald, and director of publicity, Robert Brennan. She also becomes a member of the Conradh na Gaielge Parnell branch.
The Irish Bulletin is published five times a week, circulating the misdeeds of the British government in Ireland. McKenna edits and mimeographs a summary of “acts of aggression” from British forces in Ireland weekly, compiled by Anna Kelly. Frank Gallagher does most of the writing, edited by FitzGerald, and later Erskine Childers. Though she is sometimes described as the Bulletin‘s editor, she is more akin to an editorial assistant. R. M. Smyllie later recalls that she was in regular contact with the media. She types out each issue on a wax stencil in a typewriter which is used to create mimeograph copies, and then circulated to England. In the beginning, about 30 recipients, mostly London journalists, receive the Bulletin but by October 1920 it has grown to 600, and by July 1921 over 1,200. She also keeps the accounts, takes dictation of statements, and at times works up articles from notes given to her by Griffith or others. She also acts as a confidential messenger, couriering between Dáil departments and Irish Republican Army (IRA) leaders such as Michael Collins. Through this, she meets Moya Llewelyn Davies.
The Bulletin becomes a symbol of the underground government and a target for British forces. This necessitates the frequent moving of the operation from one Dublin hideout to another. She fears that if she were captured, she would break under interrogation. When FitzGerald is arrested, he is asked about “the girl wearing a green tam” in reference to McKenna’s tam-o’-shanter hat which prompts her to change her choice of hat. Despite the capture of a number of the Bulletin staff, as well as the capture of the office files and equipment on March 26, 1921, it never misses an issue.
McKenna’s sister Winifred also works as a secretary to the clandestine government. Her brother, Tadhg (Timothy), is a member of Sinn Féin and in Greenore, County Louth, is involved in trade union affairs. He is detained, beaten, and interned in March 1921. He is later an activist with the Irish Labour Party. Her brother William is a messenger for the Irish government during this period and during the Irish Civil War serves in the Free State Army.
After the truce in 1921, McKenna is assigned to the Dáil cabinet secretarial staff at the Mansion House, where she continues to work in the publicity department. She travels as Griffith’s private secretary to London as part of the Irish delegation to the treaty negotiations in October 1921. She is an admirer of both Griffith and Collins and is a firm supporter of the Anglo-Irish Treaty. She works as Griffith’s secretary until just before his death and also does some secretarial work for Collins during the negotiations. One of her sisters is anti-Treaty, and she later recalls that she lost friends due to her support of the treaty.
McKenna marries Vittorio Napoli in 1931. He is a captain, and later a general, in the Italian royal grenadier guards. They meet when she is on holiday in Italy in 1927. For the first five years of their marriage, they live in the port of Derna in Cyrenaica, Libya, while her husband is stationed there. A son and daughter are born there. From September 1939 to June 1940, the family lives in Albania, but after Italy enters World War II, she and the children move to Viterbo. Her husband is taken prisoner in Greece in September 1943, and is detained in Germany and Poland. He returns to Italy in September 1945. Viterbo had been heavily bombed, and after Allied troops arrive, McKenna works as a translator and gives English language lessons to support her family. Her husband remains in the army, and they remain in Viterbo until 1956, later moving to Rome.
After the war, McKenna writes articles for the Irish Independent and other publications from Ireland, the United States and New Zealand, including The Irish Press, Irish Travel, Standard, Word, and Writer’s Digest. Sometimes she writes under her own name, as well as her pen name Kayn or Kayen MacKay. As the wives of Italian officers do not traditionally work, the money she earns from this is kept for travel and other leisure activities. This money allows her to visit her family in Ireland in 1947 for the first time since 1932. After their retirement, she and her husband visit Ireland regularly, and travel around Italy.
McKenna applies for an Irish military pension in 1950/51 and 1970, receiving references in support of her claim from Gallagher. As she had not served in a military organisation, her claims are rejected. As an Irish War of Independence veteran, she is awarded free travel in 1972, which is later extended to her husband. In her later years, she becomes concerned about the inaccuracies in the history around the Irish War of Independence and the Irish Civil War. She gives two talks to Radio Éireann in 1951, speaking about her time with the Irish Bulletin. Copies of these recordings are now held by the Bureau of Military History. During her lifetime, extracts of her memoir are published in the Capuchin Annual and The Irish Times. She drafted and redrafted these memoirs from the late 1940s to the early 1980s. A version edited by her daughter and niece is published in 2014 as A Dáil girl’s revolutionary recollections.
McKenna dies on March 22, 1988, in Rome. She is buried with an Irish flag which she had kept with her. A large collection of her papers is held in the National Library of Ireland (NLI). In 2010, 2011 and 2016, some of her memorabilia is sold in Dublin.
Allen is born on July 6, 1936, in a nursing home at 37 Lower Leeson Street, Dublin, the youngest of three sons of (Gerard John) Cullen Tynan Allen, journalist, manager of The Irish Times, and raconteur, and his wife Jean Ballantyne (née Archer), an English-born nurse. His paternal grandmother, Nora Tynan O’Mahony, is the first women’s features editor of the Freeman’s Journal, and the poet Katharine Tynan is his great-aunt. Allen loses half a finger on his left hand in a childhood accident which becomes a favourite theme (and occasional prop) in his shows.
After initially attending Beaumont convent school, Allen goes to Firhousenational school, County Dublin, near the family residence outside Templeogue. For a period during World War II, he lives with his mother and brothers at Keenagh, County Longford, where they had moved for fear that Dublin might be targeted by air raids. On returning to Dublin, he goes to Terenure College, run by the Carmelite fathers. His reminiscences in later life often centre on memories of frequent and sadistic corporal punishment, and warnings from priests that adolescent male sexuality is a device of Satan leading straight to hell. His resentment is formative in his lifelong and outspoken atheism.
Allen, who is close to his father, is severely affected emotionally by his death in 1948, after which his relations with the school deteriorate further. The discovery that his father’s drinking and gambling had left the family heavily indebted means that, notwithstanding assistance from journalistic friends, his elder brothers are obliged to leave school and work as journalists to support the family. Restless and even more discontented at school than previously, he often plays truant to visit museums and art galleries. Expelled from Terenure College, he briefly attends the Catholic University School before leaving school at the age of 16. After working as a clerk for the Irish Independent, in 1954 he becomes a journalist on the Drogheda Argus, reporting weddings and gymkhanas. He later attributes this career path to the contemporary tradition of following a family profession.
Moving to London but failing to secure a job on a Fleet Street newspaper, Allen follows his brother John by becoming a “redcoat” attendant at Butlin’s holiday camps in Filey (Yorkshire), Skegness, Margate, and Brighton, performing various functions and telling jokes and stories during intervals between stage acts. In the winters he sells educational toys in Sheffield. Acquiring an agent, he becomes a professional comedian, adopting the stage name Dave Allen. He initially works the declining club and variety circuit, later claiming that he had toured with the last old-style nude tableaux show. In 1959, he makes his first television appearance on the BBC talent show New Faces and realises that television is the medium of the future. He tours with pop singer Helen Shapiro in 1963 and 1964, joined in the latter year by an emerging support band, the Beatles. At this period, he models himself on American stand-up comedians such as Jerry Lewis, focusing his act on discrete gags leading up to a punchline.
While performing in support of the singer Helen Traubel in Australian nightclubs, Allen often reminisces to her off stage about his early life. Traubel suggests that he incorporate such material into his act. Such is the genesis of his mature style of rambling absurdist monologues, which he describes as influenced by the Irish storytelling tradition in general, and his father’s stories in particular. After appearing in Melbourne and Sydney, he becomes the host of a ninety-minute chat show, Tonight with Dave Allen, on Sydney-based Channel 9. Eighty-four episodes are recorded of what becomes one of Australian television’s most successful programmes ever, its popularity boosted by the rumour that he is having an affair with singer Eartha Kitt, his hilarious interviews with eccentrics, and the frequent deployment of dangerous animals onstage.
Allen marries the English actress Judith Stott in Australia on March 9, 1964, a divorcée with one son. They have two children, including the comedian Ed Allen (Edward James Allen). After separating in 1980, the couple divorces in 1983. Returning to England in December 1964 to be with his wife, he establishes a reputation there through well-received performances as a compère at the televised Sunday Night at the London Palladium (1967) and The Blackpool Show (1966). After a slot as resident comedian on The Val Doonican Show (1965–67), he obtains his first stand-alone show, Tonight with Dave Allen, in 1967 on ITV, a mixture of sketches with the monologues for which he becomes best known. He usually performs seated on a barstool, smoking a cigarette, and sipping from a presumed glass of whiskey (actually ginger ale), while musing on the oddities of life, often expressing his suspicion of authority figures. His signature farewell phrase is “Goodnight, and may your God go with you.”
On BBC television Allen headlines two programmes: The Dave Allen Show (1968–69), and Dave Allen at Large (1971–79). He writes much of his own material, compulsively scouring newspapers for items that he can work into his act. He resists suggestions that he should move to an early evening slot, as this would entail restrictions on his material. In the 1970s and 1980s he tours widely with a one-man stage show, “An evening with Dave Allen,” containing more “adult” material than would be allowed on television at the time. His stage performances are less well-received in the United States than elsewhere.
Allen’s treatment of sex and religion involves him in frequent controversies. Priests and the confessional are frequent targets. In 1975, he provokes widespread protests from Catholics over a sketch in which the pope, played by Allen himself, and his cardinals perform a striptease on the steps of St. Peter’s Basilica. In 1977, his shows are banned from RTÉ. In 1984, the British anti-indecency campaigner Mary Whitehouse formally complains about his televised act, with particular reference to a simulated post-coital conversation. As with many stage comedians, his angry and outspoken stage persona contrasts with a reserved offstage life. He keeps his stage persona distinct from his private life and does not allow his children to attend his shows.
Allen gives occasional straight performances, notably in Edna O’Brien‘s plays A Pagan Place (1972) and Flesh and Blood (1985); in the dual roles of Captain Hook and Mr. Darling in a production of Peter Pan (1973); and in Alan Bennett‘s television play One Fine Day (1979). He has a supporting role in the Australian comedy film Squeeze a Flower (1970). He also presents several documentaries, notably Dave Allen in the Melting Pot (1969); surveying life in New York City, he discusses racism and drug addiction and conducts one of the first television interviews with openly gay men. Other documentaries for ITV include Dave Allen in Search of the Great English Eccentric (1974), and Dave Allen (1978), which deals with American eccentrics. Long fascinated with ghost stories, he publishes an anthology of horror stories, A Little Night Reading (1974).
In the 1980s, Allen is regarded by many fans of the new, politically engaged “alternative comedians” as old-fashioned. His leisurely style contrasts with their quick-fire delivery, and some of his references to the Irish and other ethnic groups are seen as demeaning. He makes a partial television comeback with a six-part BBC One series, Dave Allen (1990), using considerably more outspoken material than he had previously deployed on television.
In 1993, Allen appears in a six-part series for the new ITV London franchise, Carlton Television. Thereafter he moves into semi-retirement, partly because of health problems, while continuing to make guest television appearances. At the British Comedy Awards he is named best comedy performer (1993) and is granted a lifetime achievement award (1996). He occasionally releases videos of older material “to keep myself in the style to which I had become accustomed – a bit of an Irish retirement, actually.” He maintains tight editorial control over his recordings, having been annoyed when his first television shows were chopped and changed when re-broadcast by American networks. They are released on DVD after his death. He presents a six-part BBC series based on his old material, The Unique Dave Allen (1998). After giving his last performance on BBC Radio 4 in 1999, he retires and devotes himself to his hobby as an amateur painter.
After a seventeen-year relationship, Allen marries secondly Karin Stark, a theatrical producer, on December 9, 2003. Their one son is born three weeks after Allen dies peacefully in his sleep as a result of sudden arrhythmic death syndrome on March 10, 2005, in Kensington, London.
A selection of his routines, edited by Graham McCann, is published as The Essential Dave Allen (2005). His obituarists see him as prefiguring the aggressive mocking of authority by the alternative comedians who had once criticised him, and as paving the way for such irreverent and anti-deferential satire of political and religious authority as Not the Nine O’Clock News and Father Ted. The widespread use of the monologue by Irish dramatists such as Conor McPherson in the first decade of the twenty-first century also owes something to his influence.
(From: “Allen, Dave” by Patrick Maume, Dictionary of Irish Biography, http://www.dib.ie, June 2011)
seamus dubhghaill 