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THE TIES THAT BIND

March 14 - August 13, 2011 The Donald and Mary Oenslager Gallery

The New York Public Library for the Performing Arts Dorothy and Lewis B. Cullman Center

Part of Imagine : a year-long season of Irish arts in the US in 2011, an initiative of Culture Ireland. 2 Right: Chauncey Olcott in The Isle O’Dreams, the play which introduced “When Irish Eyes Are Smiling”(1913). The Billy Rose Theatre Division, The New York Public Library for the Performing Arts.

Below: Shamrocks from Dion Boucicault’s The Story of Ireland, 1881.

The very name evokes a host of associations, images, and emotions The Ties that Bind looks at one aspect of this unique relationship – in the United States. The roots of these are deep chronologically and performance – to explore why certain airs and songs, particular dances rich culturally. Ireland lures, America beckons, both inspiring artistic and dramatic roles, continue to imagine Ireland for Americans. From expression in each other. the melodies of Thomas Moore to the percussion of Riverdance, Irish arts have been attracting audiences in the United States for more than Ireland is a temperate and verdant island in a north Atlantic two hundred years. archipelago whose nearest American neighbor is the state of Maine, The New York Public Library for the Performing Arts will also present roughly its equivalent in size. How is it, then, that across the vast The history of the Irish in America is girded with performing arts. Its throughout the course of the exhibition several poetry readings, reaches of the United States, even to its farthest corners, things Irish range of expression is influenced by Irish tradition as well as American musical performances, staged readings and panel discussions. still resonate? Why does a small country on the edge of Europe have popular culture. That heady mix was passed to each successive A series of case exhibitions on American avant-garde theater, dance such enduring appeal here? generation by new means - in the home, on the street or the stage, via and music inspired by James Joyce can be seen in the 3rd floor reading room. Rare artifacts from The Library’s archival collections concert hall, records, and radio - thus continuing to inspire creativity, include Zero Mostel’s annotated script for Ulysses in Nighttown identification with, and affection for Ireland in the United States. (Off-Broadway, 1958) and John Cage scores. 3 4 Left: St. Patrick’s Day postcard, circa 1910. Moloney Collection, Archives of Right: In 1968 the iconic Irish folksingers, and Tommy Below: Title page of The Music of Erin, printed in New York, 1807. Irish America, New York University. Makem, released Home, Boys, Home, their twelfth album on the Columbia Music Division, The New York Public Library for the Performing Arts. Records label. Rodgers and Hammerstein Archives of Recorded Sound, The New York Public Library for the Performing Arts.

This symbolism of the “Emerald Isle” infused the early stage in the United States, particularly in melodrama. There, Ireland long helped pay the rent for many dramatists and actors, from Barney Williams to William Scanlan and Chauncey Olcott. The giant of Irish melodrama in the nineteenth century was Dion Boucicault, a Dubliner who wrote a trilogy of plays that were enormously popular representations of Ireland. After Broadway, The Colleen Bawn (1860), Arrah-na-Pogue (1865) and The Shaughraun (1874) were revived in Ireland has a long history, with very old artistic and cultural traditions. Its York publisher James Hewitt could sell a volume of twelve Hibernian regional and amateur theatres all over the geography made it vulnerable, thus successive waves of invaders – Celts, melodies. The actor Tyrone Power, born in County Waterford, found United States.1 New York’s Governor Alfred E. Vikings, Normans, Anglo-Saxons – and multiple religious traditions on enthusiastic American audiences for Irish-themed plays in the 1830s. Smith had the fondest memories of playing the island all added elements to what we now understand as “Irish.” Catherine Hayes, a soprano known as the Swan of Erin, reportedly reaped the villain in The Shaughraun for a production Stories and songs that chronicle centuries of conquest, rebellion, $45,000 from concerts in California in 1853. Tours of the United States by at St. James’ parish on the Lower East Side economic, political and social turmoil have rehearsed Irish history from Irish entertainers like Power, Hayes, Samuel Lover and Johnny Patterson, in the 1890s. time immemorial. Its contours were well known among those who left were important because they introduced songs and roles into the evolving Ireland for North America even before the American Revolution. repertoire of Irish American performance. Such Irish plays – which incorporated a litany of Irish historical grievances such as eviction and Growing urban centers like Philadelphia and Baltimore, as well as frontier By far, the man with the most influence on American perceptions of emigration – also made songs as integral to plot communities all along the Appalachian divide, were home to many Irish Ireland in the nineteenth century was Thomas Moore. Moore was inspired development as action. Boucicault wrote new people (mostly Presbyterians from Ulster) as the nineteenth century by both the Romantic canon, with its classical allusions and glorification lyrics to an old song of rebellion for Arrah-na- opened. America suited Irish men and women seeking opportunities of nature, and by the aspirations of the United Irishmen, a nationalist Pogue and it is his version of “The Wearing of for work or land and freedom from intolerance. The proportion of the movement whose hopes were crushed by the British Government between the Green” that is still sung today. Melodramas population of the United States which was ethnically Irish soared as 1798 and Robert Emmet’s rebellion in 1803. He took very old Irish airs also established a very long association of the deteriorating conditions in Ireland spurred emigration after 1815 and formerly played on the harp in the bardic tradition – such as “Grá mo tenor voice with the Irish. Olcott, whose mother episodically thereafter right into the twentieth century. A devastating chroí a Máire,” “Eibhlín a Rúin,” and “Móirín” – and transformed them emigrated from Ireland, introduced many new famine between 1845 and 1851 created such huge enclaves of Catholic into songs for English and American drawing room pianos, known today songs, such as “When Irish Eyes are Smiling” Irish in New York City that it still remains the epicenter of the Irish as “The Harp that Once through Tara’s Halls,” “Erin, the Tear and the (from the play The Isle O’Dreams, 1913). Thomas Diaspora today. Smile,” and “The Minstrel Boy.” Moore’s Melodies, first published in 1808, Moore’s vocabulary was taken to the limit of its remained in print for more than a century. Its popularity, Moore observed commercial viability in the hands of Olcott’s The movement of Irish people across the Atlantic also helped to in 1829, was simply because “our music is the truest of all comments contemporaries working in Tin Pan Alley, who circulate artistic expression. Dennis Ryan’s acting company showcased upon our history.” Perhaps more significantly,Moore’s Melodies introduced churned out thousands of derivative Irish tunes the hornpipe in its pantomimes during the 1783 season in Baltimore, a visual and literary vocabulary for Ireland that emphasized the harp, the like “Laughing Irish Eyes” and “There’s a Charm inspiring the young American dancer John Durang. As early as 1807 New color green, and a strong nostalgia for home. of Dear Old Ireland in Your Eyes.” 5 6 Left: The Colleen Bawn Songster, 1873. Music Division, The New York Public Below: Fr. Charlie Coen, an All-Ireland champion concertina player Right: Flyer for the 1973 American tour of Comhaltas Ceoltóirí Éireann. Library for the Performing Arts. from Co. Galway, rehearses with his Gaelic Choir, Staten Island, Archives of Irish America, New York University. New York, 1979. Photograph by Peter Dolan. Archives of Irish Below: Advertisement, Irish Advocate, circa 1920. Courtesy of John T. Ridge. America, New York University. Coleman and his contemporaries, such as the otherwise were kept hidden: frustration or dancing master Tommy Hill, were superstars rage resulting from dysfunction, for example, in their own constellation, a world of Irish but also terms of endearment traditional performing arts that simultaneously like mo mhurinín and a stóir (respectively, my existed but only rarely trod the boards or saw darling and my dear, anglicized as mavourneen the inside of a concert hall. Until the 1950s, and asthore). Both impulses are sprinkled it remained part of an ethnic subculture in across and throughout Irish American drama. the United States even though emigration “The Babies on Our Block,” a song from Ed continued to transplant master musicians, Harrigan’s 1879 play The Mulligan Guard Ball, is singers, and dancers who were steeped in arguably the first dramatic revelation of Ireland Ireland’s folk traditions. American fascination rising in a new world: with the genre dates back to Elias Howe’s There’s the Phalens and the Whalens Musician’s Omnibus, published in 1864, which From the sweet Dunochadee,2 included 250 Irish tunes for instruments like They are sitting on the railings the violin or flute. Howe’s work of compiling With their children on their knee. Technological innovations, especially the what we might call the soundtrack of the Irish All gossiping and talking new field of recorded sound, combined with immigrant home was greatly expanded by two With their neighbors in a flock impressive talent, made the cream rise as the other collectors, William Ryan in Boston and Singing “Little Sally Waters” twentieth century opened. John McCormack, Francis O’Neill in Chicago. In particular O’Neill, With the babies on our block. a native of County Westmeath, could hold a a native of County , helped to insure that Carnegie Hall audience as equally with “Mother the connection between jigs or reels as solo Machree” (composed in 1910 by Olcott) as with dance steps was not lost, publishing a thousand the hymn “Panis Angelicus.” Likewise, ’s tunes in 1907 called The Dance Music of Ireland. Victor Herbert, perhaps best remembered today The American folkdance scholar Elizabeth for operettas like Babes in Toyland (1903), could Burchenal was inspired to publish Rinnce na premiere his second cello concerto with the h-Éireann in 1924, which detailed footwork for a New York Philharmonic and write a nationalist collection of céilí dances like the popular “Siege opera, Eileen, in the wake of Ireland’s bid for of Ennis.” Regional styles and such titles bound independence from Great Britain in 1916. the Irish abroad to the local in Ireland in ways Herbert conducted McCormack on recordings that defied time and space. ‘Home’ was both that found their way into parlors across the there and here, especially when the teaching, United States, filling homes with Irish music practicing, and performance of Irish traditional whether their roots were in Ireland or not. The arts most frequently occurred in the homes of process went East as well as West. Records made immigrants and the second generation. in the United States by the traditional musician Michael Coleman, who emigrated from County Domestic settings dominated much in Irish Sligo in 1914, found their way back to Ireland theatre too, where hearth, kitchen, or parlor are and influenced a generation there in a particular the center of the action. Its intimacy allowed regional style of fiddle playing. for a range of emotions to be expressed that 7 8 Left: Kitty O’Neill, an Irish dancer on the vaudeville stage in 1877. Jerome Below: The Advocate Players, 1932, a New York Irish entertainment troupe under the direction of radio host James A. Hayden (top row, Robbins Dance Division, The New York Public Library for the Performing Arts. standing far right), included the step dancing champion Tommy Hill (second row, standing far right), the McNulty family (Annie, standing second row with accordian, between her children Eileen and Peter, in top hats), as well as the Hayden and Hill children (seated, fourth row). McNulty Collection, Archives of Irish America, New York University. Children raised in Irish homes had a ringside Broadway productions by the Irish Theater seat to the process of performing Ireland (Sheridan Square in the 1920s), by the Irish while becoming American. Eugene O’Neill’s Players (Seven Arts Center in the 1950s), masterpiece, Long Day’s Journey into Night, by the Irish Arts Center (Clinton since the could not have been written without growing 1970s), and the Irish Repertory Theatre up with James O’Neill, his Irish-born actor (Chelsea since the 1990s). father, who was personally balancing both the inarticulateness of Famine Ireland and the With only a handful of exceptions, American loquaciousness of the American stage. Irish radio programming between 1930 and 1960 was permeated with an Irish musical In 1900 there were more than four million repertoire that had nineteenth and early Americans with direct family ties to Ireland. twentieth century origins, helped in no small Its efforts to promote cultural nationalism measure by popular artists like Bing Crosby and as a prelude to political independence found Morton Downey. “Danny Boy” (lyrics written fertile soil in the United States. The Gaelic in 1910) inspired versions by Glenn Miller and Revival prompted Irish Americans to study Harry Belafonte in the 1950s even as modern the language, folklore, and literature of their Ireland began to emerge after decades of slow homeland. Ireland’s made its nation-building in the wake of independence in first tour of the United States in 1911, presenting 1922. Fresh Irish voices began to be heard on twenty plays including J.M. Synge’s then the American scene, where there was growing controversial The Playboy of the Western World. receptivity to folk traditions, and television American tours were financially critical to allowed Ireland to be heard in a new way. The the Abbey’s survival before it became a state- Clancy Brothers and began with subsidized national theatre. A major legacy songs – strong vocal interpretations from the of those tours was local dramatic companies Irish ballad tradition – while others like the Irish who performed the Abbey repertoire in the Festival Singers and Mary O’Hara resurrected United States, such as The Courting of Mary Thomas Moore and the eighteenth century harp Doyle and Look at the Heffernans by New York music that inspired him. Without them, the City’s Thomas Davis Irish Players. The Abbey subsequent careers of artists like The Chieftains, also defined the type of play that twentieth James Galway, Frank Patterson and Ronan century Broadway audiences would accept; only Tynan would have been very different. In every certain dramas, usually domestic ones like Sean generation since the 1970s, Ireland has debuted O’Casey’s Juno and the Paycock, ’s talent that continues to revive and reinvigorate Philadelphia, Here I Come!, or Hugh Leonard’s ways of performing Ireland. Da could make it critically and commercially, paving the way for the recent successes of, The circulatory movement of music, dance and for example, Dancing at Lughnasa and The drama between Ireland and the United States Beauty Queen of Leenane. But innovation and has always been evident in the annual pageantry the unexpected could always be found in off- of St. Patrick’s Day parades, a tradition which 9 10 Left Above: Program, Irish Players (from the Abbey Theatre) tour of the Right: Ruth Gordon, Liam Redmond, and Sylvia O’Brien in The Loves of Below: Manus Gallagher leads the Donegal Association up Fifth Avenue, New United States, November 1911. Billy Rose Theatre Division, The New York Cass McGuire by Brian Friel, 1966. Uncredited photograph. O’Brien Papers, York City, March 17, 1964. Courtesy of Brid Gallagher Halter. Public Library for the Performing Arts. Archives of Irish America, New York University.

Left Below: Program for the Thomas Davis Irish Players’ production of Sive by in New York City marks its 250th anniversary Ancient Music of Ireland two centuries ago. Paths cross, common chords are struck John B. Keane, 1968. Courtesy of Deirdre Danaher. in 2011. Those parades are the most visible Powerful actors like Liam Neeson, Gabriel emotionally and artistically, and history is and constant performance of Ireland in the Byrne and Brian Dennehy interpret Eugene layered at times with sweet echoes that complete United States, although some argue that they O’Neill, and Fionnula Flanagan is to Joyce’s the circle. When Ireland eddies, it resonates now say more about Irish America, where the Molly Bloom what Siobhan McKenna was to anew in America. These are the ties that bind. “Wearing of the Green” is literal as it is played Shaw’s Saint Joan. The Beauty Queen of Leenane, in the line of march. In a similar way, Riverdance in the hands of Garry Hynes, brings home the Marion R. Casey in the 1990s summarized two centuries of an Tony for Best Direction of a Play, not only to Glucksman Ireland House New York University American love affair with Irish performance. Ireland, but for all women. “Molly Bán” finds © 2011. ALl rights reserved. This combination of dancers and musicians its way into Alison Krauss’ repertoire just like trained in traditional methods – especially “She Moved through the Fair” was in ’s. 1. The latter titles are from the Irish language. Pogue means kiss, second generation Irish Americans Michael Thirty years ago Mick Moloney began to bring thus Arrah’s kiss. Shaughraun (seachrán) translates as the stray or the wanderer. Flatley, Jean Butler, and Eileen Ivers – pushed Irish music and dance out of immigrant homes 2. Dunochadee is most likely the phonetic spelling of the Irish the boundaries of their art forms to a new level, with a touring ensemble called the Green Fields placename “Domhnach Daoi” which is Donaghadee in County Down. married their talents to Bill Whelan’s orchestral of America, named after the jig; Cherish the score, and then brought it all back home in a Ladies continues that tradition, this time using brilliant stage show. More people on earth know the name of a very old Irish jig that Michael Ireland through Riverdance than could ever have Coleman recorded in the 1930s. seen vaudevillian Kitty O’Neil do her champion jig or the pioneering dramas of Chicago’s Trinity Irish Dance Company in the 1980s, both equally the antecedents of Riverdance.

No less innovative are contemporary artists whose expression is not seen by Americans as overtly “Irish” as Riverdance was. A song like “Sunday, Bloody Sunday” by U2 is an historically-themed Irish ballad as timeless in its sentiments as Moore’s “The Minstrel Boy,” yet American musical traditions influence U2 the way learned from Liam Clancy. Sinead O’Connor is as comfortable singing in the Irish language as she is with an American stage song like “Bewitched, Bothered and Bewildered.” Today, the ancient Ireland of Brian Boru and Tara can be conjured musically in our heads by Enya; her sound and the medium of dissemination are different, but the ultimate effect is not unlike that of Edward Bunting’s 11 12 Public Programs

Thursday Programs are presented in Saturday March 24 at 7:00 p.m. conjunction with the exhibition May 14 at 2:30 p.m. at Glucksman Ireland IRELAND AMERICA The My W.B. Yeats House NYU Ties That Bind and take place in An event curated by noted Irish Eccentric Nation: the Bruno Walter Auditorium. poet Eamon Grennan with Irish Performance in Nineteenth Admission is free and on a first American poets reading and Century New York City come, first served basis. For responding to Yeats’ work and Professor of American Studies at Sunday afternoon programs, exploring the influence of this Michigan State University, Stephen please enter by 111 Amsterdam 20th century literary giant on their Rohs discusses his recent book Avenue just south of 65th Street; own poetry featuring Louise Gluck, which examines the ways that doors open 30 minutes prior to the Philip Levine, Rosanna Warren, Irish nationalism was constructed program (The Lincoln Center Plaza and Kevin Young. Judith Mok as a cultural phenomenon in the entrance is closed on Sundays. The American diaspora. A study of Library for the Performing Arts’ Saturday several performance events in New exhibitions, collections, and other May 21 2:30 p.m. In conjunction with IRELAND York City, Eccentric Nation reveals services are not available). Whole World Round AMERICA The Ties That Bind, the diverse ways that musicians, The hit of the Kilkenny Arts The New York Public Library will orators, parade participants, For further information about Festival, Whole World Round is an be offering an extensive array athletes, actors, and dramatists programs in this brochure, call evening of storytelling, song, and of free programs related to the created a range of Irish identities in 212.642.0142. For information conversation with novelist Joseph exhibition in the branch libraries the burgeoning metropolis. It also about other programs at the O’Connor (Redemption Falls, Star in Manhattan, the Bronx, and examines how the events that often Performing Arts Library, call of the Sea), musician/filmmaker Staten Island. These include staged were thought to inspire crowds 212.870.1630. Philip King (Bringing It All Back performances of Irish folk tales and of urban dwellers into nationalist David Kincaid Mick Moloney Home), and special guest artists. legends for children; Irish cooking passions evoked varied and even All programs are subject to last MONDAY demonstrations and Gaelic lessons contradictory notions about what minute change or cancellation. June 6 at 6:00 p.m. for teens; and dramatic readings of Irish identity represented. Saturday Monday Saturday March 26 at 2:30 p.m. April 11 at 6:00 p.m. April 16 at 2:30 p.m. Molly Says No! plays by Oscar Wilde and live Irish Dhomhnaill, Galway Kinnell, A dramatic recital performed by music with Don Meade for adults. Introduction by Professor Series produced by The Irish Volunteer “If It Wasn’t for the Irish and Ned Harrigan and the Irish the soprano Judith Mok, based For complete information on these Marion R. Casey, Clinical Assistant Cheryl Raymond, Manager, Songs and history of the Irish in the the Jews”: Exploring Irish and Roots of Broadway Heather McHugh, Dennis on the character of Molly Bloom and many other programs, Professor of Irish Studies and Public Programs and Special American Civil War presented by Jewish Historic Musical Links Musician/folklorist/musicologist O’Driscoll, and Jean Valentine. from James Joyce’s Ulysses. This is visit www.nypl.org. Senior Archivist, Archives of historian/musician David Kincaid. Mick Moloney’s tribute to Harrigan An evening of poetry, music, Events; and Aram Tchobanian, and Influences on Vaudeville and a modern, liberated Molly, mother, Irish America, NYU through story and song salutes and readings featuring the Public Programs Assistant. Saturday Early Tin Pan Alley in America Harrigan’s importance in the world premiere of a commissioned immigrant, professional singer, The Library will also be hosting April 9 at 2:30 p.m. Mick Moloney presents an growth of American musical and work of new lyrics to an old Irish air escaped from the bed where her several free programs for teachers, For more information, please visit entertaining and insightful Irish Traditions Hidden theatrical culture. by poet/composer Paul Muldoon, creator kept her. This is Molly on including a film screening and http://irelandhouse.fas.nyu.edu. examination of a time when and Revealed: Vocal and presented in collaboration with the stage, telling her own story, singing workshop with the Irish Film vaudeville and Tin Pan Alley Instrumental Tunebooks in Monday Poetry Society of America. the music she loves! Institute, and a joint workshop flourished with the fertile the Collections of the New April 18 6:00 p.m. with the Lower East Side Tenement contributions of Irish and Jewish York Public Library for the A Celebration of Irish Culture Saturday Museum that will include a songwriters, theatrical producers, Performing Arts through Poetry, Music and Song April 23 at 2:30 p.m. performance of Frank McCourt’s and music publishers. George Boziwick, Chief of the Cultural Cross-Currents: Selections from Victor Herbert’s Teacher Man, a story of modern Music Division, will present a A Trans-Atlantic Conversation in operetta Eileen sung by members of Irish immigration. For more lecture-performance featuring the Verse with Greg Delanty, Nuala Ni the Metropolitan Opera Chorus. information please visit Sara Banleigh Band and Friends. http://teachandlearn.nypl.org. 13 14 Hidden Ireland: A Celebration of Ireland in Documentary Film

Presented in partnership with SATURDAY The Columban Fathers Present: THURSDAY SATURDAY SATURDAY THURSDAY SATURDAY the Irish Film Institute, Hidden March 19 at 6:00 p.m. President Kennedy in Ireland April 7 at 6:30 p.m. April 16 at 6:30 p.m. April 23 at 6:30 p.m. May 5 at 6:30 p.m. May 14 at 6:30 p.m. Ireland is a documentary film (Ireland) Man of Aran (UK) A Sense of Loss (Switzerland/USA) program which explores the 1963, 26 minutes 1934, 77 minutes 1972, 135 minutes long and complex relationship Produced by The Columban Fathers Directed by Robert Flaherty Directed by Marcel OphÜls between Ireland and Irish- How the Myth Was Made (USA) America. Through a series of THURSDAY 1978, 60 minutes SATURDAY films of Irish and US origin, March 31 at 6:30 p.m. May 7 at 6:30 p.m. Hidden Ireland considers Irish Screening introduced by filmmaker The Irish Riviera (Ireland) George Stoney emigrant experience and offers a Ca. 1936, 10 minutes range of perspectives on the land Produced by Irish Travel SATURDAY left behind. The films are drawn Ireland 1922 (Ireland/UK) Association April 9 at 6:30 p.m. The Yellow Bittern: The Life and Hard Road to Klondike (Ireland) The Pipe (Ireland) primarily from the IFI Irish Film 1922, 10 minutes Times of Liam Clancy (Ireland) 1999, 55 minutes 2010, 83 minutes The Village (USA) From Shore to Shore (USA) Archive collection. 2009, 108 minutes Directed by Desmond Bell Directed by Risteard Ó Domhnaill The Seasons (Ireland) 1967, 70 minutes 1993, 57 minutes Directed by Alan Gilsenan 1935, 40 minutes Directed by Mark McCarty, Screening introduced by filmmaker Directed by Dr John Benignus Lyons Paul Hockings, Walter Patrick Mullins THURSDAY THURSDAY THURSDAY April 28 at 6:30 p.m. May 19 at 6:30 p.m. THURSDAY Silent films presented with Goldschmidt, Colin Young April 21 at 6:30 p.m. Goodbye to Glocamorra (Ireland) Rocky Road to Dublin (Ireland) March 17 at 6:30 p.m. accompaniment by musicians THURSDAY Glimpses of Erin (USA) 1968, 27 minutes 1967, 69 minutes Colm and Rossa O Snodaigh from SATURDAY April 14 at 6:30 p.m. 1934, 8 minutes Produced by Radharc Films Directed by Peter Lennon Kíla and harpist Cormac de Barra April 2 at 6:30 p.m. James A. Fitzpatrick Traveltalks series Screening introduced by The Making of Rocky Road Dr. Jerome Travers THURSDAY March of Time : Ireland (USA) to Dublin March 24 at 6:30 p.m. 1946, 15 minutes The Emigrant Chaplain (Ireland) 2004, 30 mins Out of Ireland (USA) Presented by Time Inc. 1994, 26 minutes Directed by Paul Duane Produced by Radharc Films 1994, 111 minutes Look Up and Live: Ireland in Screening introduced by THURSDAY Screening introduced by Paul Transition (USA) His and Hers (Ireland) Fr. Colm Campbell May 12 at 6:30 p.m. Wagner and Ellen Casey Wagner 1965, 25 minutes 2009, 80 minutes With Will Rogers in Dublin (USA) Directed by Portman Pagett for CBS What We Leave in Our Wake Directed by Ken Wardrop 1927, 3 minutes SATURDAY Fleá Ceoil (Ireland) SATURDAY (Ireland) Our Country (Ireland) 1967, 23 minutes Ireland: New Convention April 30 at 6:30 p.m. 2010, 70 minutes Honeymoon in Ireland (Ireland) March 26 at 6:30 p.m. 1948, 5 minutes Directed by Louis Marcus Country (Ireland) South of the Border: Ireland’s Directed by Pat Collins 1963, 28 minutes Series curated by Sunniva O’Flynn of the Directed by Liam O Laoghaire 1966, 15 minutes Protestants (USA) Presented by Bord Fáilte/The Irish The Pilgrimage of Ti Jean (UK) Irish Film Institute and David Callahan Directed by Robert Monks 1973, 13 minutes Tourist Board Irland und Seine Kinder 1978, 46 minutes of the Reserve Film and Video Collection, Produced by CBS Library for the Performing Arts.. (Children of Eire) (Germany) Directed by Philip Donnellan The Ed Sullivan Show in Ireland 1961, 42 minutes Power in the Blood (Ireland/UK) (USA) Directed by Klaus Simon 1989, 76 minutes 1959, 60 minutes Directed by John T. Davis Directed by John Wray for CBS The Irish Village (UK) 1959, 19 minutes Directed by James Clark Ireland-the Tear and the Smile (USA) 1961, 50 minutes Directed by Willard Van Dyke for CBS For key support we thank Special Collections, Michelle Go raibh míle maith agat. A Gabriel Byrne, Cultural Smith Performing Arts Library, thousand thanks to everyone. Credits & Ambassador for Ireland; University of Maryland Fiach Mac Conghall, Tamiment Library, Acknowledgements Abbey Theatre; New York University and Bob Santelli, Ward Irish Music Archives The New York Public Library GRAMMY Museum. for the Performing Arts gratefully acknowledges the IRELAND AMERICA Media developed by the staffs Material in this exhibition Permission to excerpt and leadership support of Dorothy The Ties that Bind of The Library’s Jerome has been drawn from the display media content in the and Lewis B. Cullman. Robbins Archives of Recorded research collections of The gallery was granted by Additional support for is a collaboration among Moving Image, Theatre on New York Public Library exhibitions has been provided Film and Tape Archives, and for the Performing Arts George C. Heslin, by Judy R. and Alfred A. The New York Public Library Rodgers & Hammerstein and the Archives of Irish Origin Theatre Company Rosenberg and the Miriam and for the Performing Arts Archives of Recorded Sound. America, Bobst Library, New Harold Steinberg Foundation. York University. Additional Joan McNiff Cass Jacqueline Z. Davis, Media editing by materials were loaned by James Cuggy Barbara G. and Lawrence A. FranÇois Bernadi Fleischman Executive Director Eileen C. McKernan Josephine Butler Caitlin Mack, Exhibition and Patrick J. Mullins Philippa Cantillon New York University’s Graphic Designer Joan Dineen Casey Daniel Neely Glucksman Ireland House René Ronda, Installer Deirdre Danaher David L. Smith Herbert Ruiz, Installer Noreen Denihan Agnes De Mille Foundation J. J. Lee, Matthew McEnteggart Adrian Flannelly Audiographics Director and Glucksman Eric Anderson Gino Francesconi Chair of Irish Studies Thomas Gordon Bates Dance Festival John Garvey Cherry Lane Productions Barbara Haws Culture Ireland We thank the staffs of all of the Kevin Healy Columban Fathers collaborating institutions for Mary McMullen Columbia Tristar Home Video Eugene Downes, their support and assistance Maura Mulligan Irish Film Institute Chief Executive on this project, as well as the Maureen Murphy volunteers and interns. Joyce Theater Erin O’Connell-Calamari Kultur International Films GLUCKSMAN Maureen O’Connell At New York University, IRELAND HOUSE Exhibition Team Mae O’Driscoll SOFA Entertainment we are especially grateful to NEW YORK UNIVERSITY Anna O’Neill Symphony Space Dean Carol Mandel, Division Marion R. Casey, Curator Terry and Frank O’Neill Ten Toe Percussion Ensemble of Libraries; Arts & Science Clinical Assistant Professor, Ciarán O’Reilly Deans Laurie Benton, Jess Trinity Irish Dance Company Glucksman Ireland House, John T. Ridge Benhabib, Matthew Santirocco, Universal Studios Home Senior Archivist, Archives of John Waters and Jonathan Lipman; Elisa Entertainment Irish America, Bobst Library, Guarino, Department of Media Picture Start, Inc. New York University Carnegie Hall Archives Production; and Nancy Cricco, WMVS, WMVT, Milwaukee University Archives. Irish Repretory Theatre Barbara Cohen-Stratyner, Warner Brothers Library of Congress Judy R. and Alfred A. Rosenberg Linda Dowling Almeida World Music Institute Curator of Exhibitions Museum of the City Rebecca Altermatt of New York Coalition of Broadway Unions and Guilds Mike Diekmann, Manager Brendan Dolan New York Philharmonic of Media Play-back and Virginia Ferris Archives Inter-active Design Jan Hilley Redpath Lyceum Bureau Michael Nash Collection, University of Iowa Miriam A. Nyhan Eileen Reilly