The Green & the Greasepaint -Ireland & Hollywood *Mod warning 1st page*

JIMMY JIMMY


Jun 9th, 2008 by Conor McCabe


More albums from St. Vincent’s on Sean McDermott Street. This one is a collection of the best sketches of comic duo, Jimmy O’Dea and Harry O’Donovan. The following comes from the album sleeve notes, written by Matthew Murtagh:-
“Born in Lower Bridge Street in the heart of old Dublin - not far from “Biddy Mulligan´s” Coombe - on April 28th, 1899, Jimmy O’Dea was one of eleven children, four of whom went on the stage. His mother ran a small toy shop to supplement the earnings of his father, who worked as an ironmonger. Given the benefit of a first-class education and having been blooded with an amateur dramatic company, the Kilronan Players, Jimmy plucked up enough courage to suggest to his parents that his future might lie in a careers as an actor. His father gave him a stern look: “son, I´d rather see you in your coffin.” Instead he was apprenticed to an optician. Undeterred he continued with his stage work and ambitions, graduating to the Irish theatre in Hardwicke Street and a propitious association with actor-producer John McDonagh, in whose company he recalled, amongst other roles, that of the old man-servant, Firs, in Chekhov’s “The Cherry Orchard” in 1920. When, shortly after, MacDonagh produced his comedy play, “The Irish Jew” at the Empire (now Olympia) Theatre, he gave the young actor a choice cameo role to portray, one which proved to be the laughter hit of the evening.


“Around this period he qualified as an optician, and still only 21 set up his own business (later hen he became a full-time actor this enterprise was disposed of to his sister, Rita). After a season with Madame Kirdwood-Hackett´s Repertory Company at the Abbey Theatre in George Bernard Shaw plays, Jimmy rejoined MacDonagh to appear in his Irish revues, the first of which, “Dublin To-Night”, was produced at the Queen’s Theatre on February 4th, 1924. In a new edition of the same revue at the Olympia Theatre the following August he donned female attire for the first time when he took the part of the landlady in a sketch, “Our Visitors”, which was such a success before packed houses that by popular demand it had to be repeated in a subsequent revue, “Next Stop, Darling”. In unbounded versatility of character acting, ranging from Napoleon to the country lad “up on the last load”, Jimmy O’Dea rapidly rose to the rank of “Ireland’s Representative Comedian”. During the 1927 he went on his first English tour in MacDonagh’s revue, “The Goods”, only to learn on his return that John MacDonagh, who had made him a star, was about to emigrate to America. But the gloomy news was forgotten after a fortunate encounter with fellow-Dubliner Harry O’Donovan. A chance meeting in a Dublin street of those two actors, whose paths had crossed in several stage plays some years earlier, brought a partnership sealed with a handshake and a bottle of stout in the nearest pub. Practically broke - Harry had to sell his piano - they scraped up enough money (?20) to launch their first show, a revue “we’re Here” at the Queens Theatre in April 1928.”

“The passing of Jimmy O’Dea on January 7th 1965, left a void which may never be filled, for he was undoubtedly the greatest native comedian who ever graced the footlights. Although no more than 5 feet 4 inches in height, he was a giant of the Irish theatrical scene. Harry O’Donovan outlived his partner by several years, his death taking place on November 3rd, 1973.”
Jimmy O’Dea´s family moved to Capel street, some time after the start of the century. They are listed in the 1911 census as living at 162 Capel Street, Dublin. It was while living there that O’Dea became friends with future Taoiseach, Sean Lemass - O’Dea would later serve as best man at Lemass’ wedding.

http://dublinopinion.com/2008/06/09/jimmy-jimmy/

Monday, 5 October 1998 The Independent





1 SEPTEMBER 1939 is imprinted forever as "the day war broke out", thanks to the immortal broadcasts by the then Prime Minister, Neville Chamberlain, and the radio comedian Robb Wilton. Three days later Louis Ellman, manager of the Theatre Royal Dublin, cabled a somewhat different news bulletin to the President of Republic Pictures:
Gene Autry's personal appearance broke all existing box-office records since we opened. Autry played to 80,000 paid admissions. Police records estimate Autry's parade drew on the streets 75,000 people, the largest crowd ever assembled in all Dublin history.
Clearly the Irish knew what was important in the world of that dark September.
Gene Autry, billed by his studio as "Public Cowboy Number One", had arrived in London in August 1939, his first ever trip outside his native America. With him, of course, came his horse Champion, a golden Palomino who would in time receive his own television series and signature tune, "Champion the Wonder Horse", sung by the pop star Frankie Laine. But back in 1939 Champion hit his first British headlines when Autry rode him up the steps and into the Savoy Hotel. "Shooting irons must be parked with hats" ran the footnote on the press invitations.

The fourth Theatre Royal opened on September 23, 1935 in Hawkins Street. It was a large art deco building designed for an audience of 3,700 people seated and 300 standing, and was intended for use as both theatre and cinema. It also housed the Regal Rooms Restaurant. The theatre had a resident 25-piece orchestra under the direction of Jimmy Campbell and a troupe of singer-dancers, the Royalettes. From the beginning, the sheer size of the building made it difficult for the Royal to remain economically viable. The policy adopted at first to confront this problem was to book big-name stars from overseas to fill the building. These included Gracie Fields, George Formby, Max Wall, Max Miller and Jimmy Durante. However these shows rarely made a profit.
In 1936, the Royal was acquired by Patrick Wall and Louis Elliman, who also owned the Gaiety. With the outbreak of the Second World War, Wall and Elliman were forced to keep the two theatres going with native talent only. This led to the emergence of a raft of Irish acts who were to provide the mainstay of the Royal's output for the remainder of its existence. These included such Irish household names as Jimmy O'Dea, Harry O'Donovan, Maureen Potter, Danny Cummins, ((Mike Nolan)), Alice Dalgarno, Noel Purcell, Micheál MacLiammoir, Cecil Sheridan, Jack Cruise and Patricia Cahill. In July 1951 Judy Garland appeared for a series of sold out performances and was received with tremendous ovations. The legendary singer sang from her dressing room window to hundreds of people who were unable to get tickets and critics dubbed her "America's Colleen" She drew the largest crowds up until that time and was only surpassed by the visits to Ireland of United States President John F. Kennedy and the Pope in the 1960s. Popular Irish American entertainer Carmel Quinn also made her singing debut here during the early 1950s. Under pressure from rising overheads and the increasing popularity of the cinema and the introduction of television, the fourth Theatre Royal, Dublin closed its doors on June 30, 1962.

<H1>Barry Fitzgerald Biography

Famous Irish Character Actor of Stage and Screen






Feb 23, 2008 Michael Rowland
Barry Fitzgerald - goldenyears.com


Biography of Barry Fitzgerald, Oscar-winning Irish character actor and star of "Going My Way" and "The Quiet Man".




If you walk down Hollywood Boulevard and stop at 6252, you will find, among the many stars in the Hollywood Walk of Fame™, the name of an Irish actor whose career path began at Dublin’s famed Abbey Theater. This is his story.
Early Life

William Shields was born in Dublin on March 10, 1888. He was educated at Merchant Taylor’s Protestant School, and trained to enter the world of banking. He ended up joining the Irish civil service and worked as junior executive at the Unemployment Insurance Division while moonlighting as an extra at the Abbey Theater.
The Stage Beckons

His interest in amateur drama surfaced at an early age and continually grew until it dominated his career choices. William flubbed his first speaking line in a 1915 production and sent the audience into a hearty round of laughter. For the rest of his life, he maintained he became a comedian right then and there.
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William subsequently starred in the Abbey’s production of Juno and the Paycock by the great playwright, Sean O’Casey. He would recreate that role in his film debut in 1930 for director Alfred Hitchcock. Director John Ford brought the actor to America in 1935 to appear in another O’Casey classic, The Plough and the Stars. Thus began a career that would see him make more than 40 feature films, among them How Green Was My Valley and The Quiet Man.
A Family Business

William Shields’ is, perhaps, best loved for his role as Michaleen Oge Flynn, the often-tipsy, wisecracking matchmaker in The Quiet Man. Fans of the movie may also remember the Protestant minister, Cyril “Snuffy” Playfair, who counseled John Wayne’s character about Irish women and customs. Arthur Shields, who was William’s brother in real life, played the Reverend Playfair. Arthur had a long career as a director and character actor, but never achieved the notoriety that William did. (Actually, it is difficult to name another supporting actor who achieved the level of success and fame that William did.)
A Full and Honored Career

A lifelong Protestant, he won two Academy Awards® for his portrayal of Catholic priest Father Fitzgibbon in Going My Way in 1944, claiming the Best Actor and Best Supporting Actor Oscars® for the same role. He was the only actor ever to be so honored, and the Academy of Motion Picture Arts and Sciences immediately changed the rules to prevent another such occurrence. (Ironically, William would later accidentally knock the head right off his Best Supporting Actor Oscar while practicing his golf swing.)
Going Home

William returned to Ireland in 1959 and made his last picture, “Broth of a Boy”, in which he played a 110-year-old poacher. He passed away in his beloved Dublin on January 4, 1966.
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Maureen O'Hara Biography
Biography of Maureen O'Hara, famous Irish film actress and star of "How Green Was My Valley" and "The Quiet Man"

So, when you stroll down Hollywood Boulevard and look at the stars in the Walk of Fame, don’t bother looking for William Shields; you won’t find his name on any stars. However, you will find the stage name of a short, Irish actor who walked tall in American and international theater: Barry Fitzgerald.


Read more at Suite101: Barry Fitzgerald Biography: Famous Irish Character Actor of Stage and Screen http://film-stars.suite101.com/article.cfm/barry_fitzgerald_biography#ixzz0trtAqOMg

http://www.imdb.com/name/nm0611811/

Often compared to Rex Harrison, Mulhare had his two greatest US successes inheriting roles that Harrison created. On Broadway, Mulhare succeeded Harrison as Henry Higgins in "My Fair Lady" when the latter joined the London company, playing the part for most of the play's remaining Broadway run. On television, Mulhare played the role of the ghost of Captain Daniel Gregg in the TV version of "The Ghost and Mrs. Muir", a role Harrison had created two decades earlier in the film version.

https://www.youtube.com/watch?v=1BTbvFgh6Ig

Laurel and Hardy in Ireland
On Sunday, 25th May, 1952, Stan Laurel and Oliver Hardy took the overnight ferry from Liverpool to
Dublin. The next morning, a reporter from the Irish Daily Mail noted that they both had missed breakfast
and didn't appear until noon. The venue was the Gresham, a large five star hotel on Europe's widest
street, O'Connell Street. This street had witnessed many events in Ireland's history, and now here was
another, the first visit of Laurel and Hardy to Ireland.
The newspaper reported: “Stan Laurel was first on the scene, looking every inch like that silly
little man who was guaranteed to get his partner into every conceivable mess. Then came
Oliver Hardy, looking even larger in life than he does on the screen, and still sporting his tiny
moustache.” The party was quite tired, as they were exactly halfway through an eight-month tour of
Britain and Ireland. It therefore must have come as a blessing that the opening night's performance had to
be cancelled due to the fact that the scenery didn't make it over in time.
Opening night began on Tuesday, 27th May and the Dublin Times reported:
“What Laurel and Hardy have to say to each other doesn't matter. They merely have to appear
on stage and the house rocks, shrieks and hoots with laughter. Much of the laughter came from
children, but their parents were spellbound too.”
The Irish Press of 28/05/52 noted : ”Mr O'Laurel and Mr O'Hardy were the latest distinguished
visitors to Dublin. In private life they don't make you laugh ha-ha, but they do make you
smile."
Reporter Mac Alia was in their hotel room when the phone rang. It was somebody saying that he had
been told to contact Laurel and Hardy and he got onto Stan. The context wasn't clear, but they were to
get in touch with somebody. The somebody couldn't get in touch with them, because the somebody
hadn't turned up. Chaos all around. "You should have hung up before he did," said Oliver sitting majestically
in his chair. "I didn't know he hung up," said Stan. "I wasn't listening.".
Mac Alia then asked them if they were going to meet anybody important while they were in Dublin.
"Everybody is important to us" was the joint answer. Mrs Hardy went on to describe her husband as a
great handyman around the house; just give him a paintbrush and he is happy.
An Evening Herald reporter noted : “Personally I found them much more entertaining in person
than in celluloid. In two short scenes they managed to convey their genius for the trade
that has kept them in the forefront for so long.”
Their visit to Dublin also coincided with the British and Irish release of A toll K, known as
Robinson Crusoeland. This was playing nightly in cinemas. Dublin, it seemed, was not only the
Irish capital but also the Laurel and Hardy capital for those two weeks.
Laurel and Hardy took the train to Belfast in time to open on 9th June. While in Belfast, Stan was
taken ill and was laid up for a couple of weeks in the Musgrave Clinic. Oliver and Lucille Hardy
returned to Dublin for a short holiday while Stan recovered. After a relaxing holiday the Hardy’s
returned to Belfast and they continued with the tour.

Laurel & Hardy in Cobh


Posted by admin in Historical on 20 October 2009

By Adrian Patrick Gebruers KSG
It must be recorded that the Laurel and Hardy visit to Cobh in 1953 has become the most high-profile episode involving the Cobh Carillon and has spread the fame of the instrument far and wide. Almost every book about the comedians mentions it, the event was warmly recalled in the “This Is Your Life” show the following year (1954), it has been the subject of countless radio and television features and is frequently quoted in newspaper and magazine articles.
The story begins in the picture palaces of Antwerp back in the early 1920’s, when my father (Staf Gebruers, 1902-1970), then a impecunious young music student, earned much needed pocket money as a temporary cinema pianist and thus was planted the seed for a life-long passion for stars of the silent screen. Fast forward to Cobh some thirty years later, where news was trickling through that Laurel and Hardy had boarded the U.S. Lines liner SS “America” in New York bound for the Emerald Isle. Whereas the duo’s departure from the Big Apple had not attracted much attention, the people of Cobh were veritably tingling with excitement at the prospect of seeing them in the flesh, particularly on the part of the younger members of the population.
If the truth were to be told, the comedians were no longer that popular in the land that made them and this European campaign was an attempt to revive their waning fortunes, with Ireland being selected as a starting point.
On the morning in question, a little drama was unfolding at St Joseph’s Boy’s Primary School. As a ten year old pupil, I was not only a first-hand observer but very much a participant in these events. The thought that our favourite film comedians might be a stone’s throw away down town while we scholars sat in our classrooms was more than any human beings could be asked to endure. We therefore took advantage of the morning yard break to petition the school principal to allow us out to see the film stars. As at that stage the ageing Br Eugenius was probably not in the best of health, the collective pressing of hundreds of over-excited boys was probably more than he could take. Moreover, as he instinctively backed away from the onslaught we inadvertently were responsible for pressing him up against the school building, just alongside the white statue of our holy patron as it happened. In what the poor brother might well have considered to be one
of his last breaths, he just about managed to gasp out the words we longed to hear: “Alright, you can go down to see them.”
Housewives going about their daily shopping on The Beach, Cobh’s main thoroughfare, first thought they were detecting the sound of distant thunder, but with the addition of youngsters’
exuberant voices it soon became obvious that the town’s schoolchildren were rushing down West View hill en route to the railway station where passengers from the liners disembarked. As my best friend was Seán O’Mahony and his parents managed the Royal Cork Yacht Club, I was able to get on to the balcony of the building, which commands a fine close-up view of the harbour. When the tender taking the passengers ashore from the liner passed we waved and shouted and
repeatedly rang a ship’s bell in welcome, just as everyone else of the thousands lining the waterfront were similarly engaged. The two film stars were completely taken aback by the sheer ecstasy of their reception and in the years left to them never tired of reminiscing about that Wednesday, September 9 1953:
“The docks were swarming with many hundreds of people. ‘It’s strange, a strange thing,’ Stan says in recalling that day, ‘our popularity has lasted so long. Our last good pictures were made in the thirties, and you’d think people would forget, but they don’t. The love and affection we found that day at Cobh was simply unbelievable. There were hundreds of boats blowing whistles and mobs and mobs of people screaming on the docks. We just couldn’t understand what it was all about. And then something happened that I can never forget. All the church bells in Cobh started to ring out our theme song, and Babe looked at me, and we cried. Maybe people loved us and our pictures because we put so much love in them. I don’t know. I’ll never forget that day. Never”.
When the two celebrities stepped ashore in Cobh they were immediately surrounded by good humoured milling crowds, all wishing to catch a glimpse of them or even shake their hands or get an autograph. The few local Gardaí fought a losing battle to speed them through immigration and customs formalities and out to a waiting car, and there was some considerable delay before they eventually emerged from the railway station to more cheering masses of fans. Ollie did not look
a well man that morning, but in spite of how he might have been feeling he and Stan were insisting on personally thanking “the bell-ringers”. Like most people, they knew next to nothing about carillons and even less of how they’re played. When Seán O’Brien, manager of the U. S. Lines and a personal friend of my father’s, explained that this was an instrument played from a keyboard by one man they were even more anxious to make his acquaintance. A few minutes
later, Seán’s car sped around Cathedral Corner followed Pied-Piper like by hundreds of screaming children. My father was at the main entrance, where I had joined him standing shyly a few steps behind. My first reaction was one of disappointment as these two elderly gentlemen dressed in modern lounge suits alighted, only vaguely resembling their far more familiar screen personae. But even worse confusion was to follow. When Ollie went to take my father’s hand to thank him the accumulated emotion of that whole morning seemed to suddenly spill over the poor man and words failed him. Tears began to roll down his cheeks as he engulfed Dad in his not inconsiderable embrace. Alarmed that my father, who in these politically-correct days would be termed vertically-challenged, might not come out intact from that massive bear hug, I was even more unnerved by Stan’s contrasting total composure as, dryeyed, he repeated polite words of appreciation. Shouldn’t he be the distraught one, wringing his hands and bawling crying as Olie yet again admonishes: “That’s another fine mess you’ve gotten us into.”, when in fact the reverse seemed to be the case! But there was no denying the sincerity of the film stars’ gratitude. Having their theme played on the Carillon and the great warmth of the welcome they’d witnessed in Cobh was a genuine public acknowledgment of the innocent fun they had given to millions which seemed to deeply touch them and was to become a landmark experience in their twilight years.
The above story was sent to me by the author who has told me that it is only a part of what happened that day. He revealed that he alone is probably the last one to know what really happened and would probably never tell. I quizzed him for some time and tried to persuade him to part with the details one day but he was quite resigned to the fact that the story would die with him. I didn’t even get a slight clue as to what it was and I am very intrigued. Perhaps one day….


http://visitcobh.com/news/?p=82

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