Search Results for 'Christopher Fitz-Simon'
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Geraldine Neeson, whose family kept theatre people when they visited Cork, described Mícheál MacLiammóir ‘as beautiful as a young god’, and his companion Hilton Edwards as a man endowed ‘with exuberant spirit and all-embracing gestures,’ diplomatically hinting that perhaps he was somewhat less prepossessing.
For three years after the opening of the Gate Theatre in Dublin Mícheál MacLiammóir continued to work for An Taibhdhearc. He travelled to Galway as often as three times a week. Despite the Gate's rave reviews for its first play Peer Gynt, for which Mícheál designed its 'symbolic' scenery, money was slow to come in. Mícheál needed the salary that An Taibhdhearc offered. The Minister for Finance, Ernest Blythe (who was soon to take over the running of the Abbey Theatre), and who had taken such interest in the fledgling Galway project, urged its directors to offer MacLiammóir full-time employment. But MacLiammóir felt that his destiny was in Dublin. The Gate opened later in 1928, the same year as An Taibhdhearc, offering Dublin audiences the best of European and American theatre, and rapidly becoming a venue for a new wave of talented Irish writers.
In Roy Foster’s impressive biography of WB Yeats* he tells an interesting anecdote concerning the sinking of the RMS Lusitania off the Cork coast on May 7 1915. The Galway writer Violet Martin (the second half of the caustic but amusing Sommerville and Ross duo), was walking by the sea near Castletownshend, Co Cork, when she saw the Lusitania pass in ‘beautiful weather’. Half and hour later, as the ship steamed passed the Old Head of Kinsale on her way to Liverpool, it was torpedoed by a German U-boat. Nearly 2,000 people perished.
TOMORROW, SATURDAY, and Sunday, the fabled Coole Park plays host to the 14th annual Lady Gregory Autumn Gathering which, as ever, features a top-notch array of speakers and performers coming together to celebrate Lady Gregory and her world.
Ireland has every possibility of getting back the 39 controversial paintings, willed to the Irish people by art collector Sir Hugh Lane at the beginning of the 20th century, but which remain in London because the codicil to his will was not witnessed. “Hugh Lane’s intentions were absolutely clear”, the dynamic director of the Hugh Lane (formerly Dublin City) Gallery, Ms Barbara Dawson said in Coole last weekend, “there is no reason on earth why the paintings are not on Irish soil permanently.”