"If walls could talk!"
Theatres possess a special atmosphere that actors and performers recognise instantly. At rehearsals, they clue
into the spirits of the theatre, picking up on vibes and whispers of the past. Theatre deals with imagination;
calling for what Samuel Taylor Coleridge describes as a "suspension of disbelief" between audience and
performers. If the synergy works; magic is created in the theatre. In the Autumn of 1926, the legendary Anew
McMaster Shakespeare Company appeared in Limerick for the first time on the stage of the Athenaeum and
recited to the audience:
"I will a round unvarnished tale deliver"
[Othello. Act 1. Scene 3.]
This is the "unvarnished tale" of a theatre. The Athenaeum Hall was built by public subscriptions donated by the people of Limerick. The ceremonial opening was performed by the Lord-Lieutenant of Ireland, the Earl of Carlisle in July 1856. The Limerick Chronicle described the splendid new lecture hall. with its three light domes in the ceiling as "the finest Hall for its special purpose in Ireland". If tales are legendary; history is based on hard information. The genesis of the history of the Athenaeum Hall began in 1994 with a late night conversation in the Theatre Royal in Limerick.
"If walls could talk!" the owner said. He had purchased the building, formerly the "Royal Cinema" in 1989. The cinema closed in 1987 and was falling into dereliction. Property developers envisaged a shopping mall. Seamus Flynn whose background was in music converted the cinema back into a venue for live musical performances. In the late 1980s he had produced Limerick's first rock video of a group called Tuesday Blue with Eugene O'Connor which became a hit on the international MTV music channel. Meanwhile local historians Willy "Whack" Gleeson and Dicky Quin said that the building had a history; that it had been formerly the Athenaeum Cinema or "Atty" in local parlance and that Count John McCormack, the famous tenor, had performed there. Kevin Hannan in an article in a local historical journal [NMAJ 1990] confirmed these stories adding that the Athenaeum had also been a venue for Public Education Lectures. Alderman Jim Kemmy TD, wrote in a newspaper article in the 1980s that the Athenaeum had once been the home of the Limerick School of Art. And a brass plaque erected by the Vocational Education Committee outside the main building confirmed that the venue had played some educational role in the past. Clearly the building had a history. But what was that history? There was only one way to find out. And so in late 1994, the owner commissioned this research project.
My research began with a simple question. Why was a Greek Temple style building located in a 19th century Georgian Street? A possible explanation was that the building might have been an "architectural folly" built by some forgotten Romantic in the early 19th century. Limerick city and county are enriched by such architecture. Glenstal Castle is a classic example. But research revealed that this building was no folly.
The true story proved far more interesting. The Athenaeum Research Project conducted in 1994-1995 involved the scanning of over 10,000 newspapers and other manuscripts searching for clues that might throw light on this enigmatic building. The results yielded a massive amount of new information about the venue and its pivotal role in the modern history of Limerick. Thousands of names of Limerick people emerge from the past. The Athenaeum's history as a theatre is revealed. An unexpected dividend was the exposure of a far deeper history, unearthing historic speeches by leading Irish politicians and those who agitated for social change in the struggle towards an independent Irish state. This publication highlights the major events of that history. Wherever possible old advertisements and newspaper accounts are used so as to allow the story reveal itself and in the language of those times. A dilemma as to whether to relate the story in chronological or thematic narrative posed a difficult choice. Either way obliges the reader to refer back and forth to different chapters. For example the chapter on cinema traces part of its roots to Edison's phonograph outlined in the music chapter and also to the magic lantern projection techniques outlined in the drama chapter. This labyrinthine dance throughout the thematic narrative of a theatre's history will exercise the imagination and hopefully encourage the reader to pause and reflect in a theatrical sense on the different perspectives of that history. For those who like to read their history in a linear fashion, a Chronology of Events has been compiled which lists every event that took place there since 1852. The Chronology will guide other researchers to newspaper advertisements and reviews of each episode in the theatre's history and contains a wealth of additional information as to how that database can be used to further pry open that history. For example, musicians can trace the development of music in Limerick in detail, some will find their ancestors. Historians will discover "lost" speeches of patriots and agitators for social change who shaped modern Ireland. The index to the Chronology contains approximately 1,400 names of Limerick people from 1852-1946. With further analysis, that index could grow to reveal the names of thousands of Limerick citizens, with each name linked in some way to the Athenaeum and the contribution they made to the cultural growth of the city. The reader is given the opportunity, if they so wish, to interact with that history. The Chronology and its partially completed index are available to researchers on a computer floppy disk format at a nominal cost on the understanding that their research findings will be reciprocated with the Athenaeum archive project.
The Athenaeum opened its doors to the public in January 1856 with a Panorama show of the Crimean War. These shows used early multimedia techniques of sound, provided by an orchestra, visual effects via the magic lantern, and a live narration by an actor to expose the reality of current events. At the time it was a milestone in communication techniques and a precursor to the factual documentaries of television. This book is intended to be a panoramic view of the history of this building. The focus of the research has been to retrieve the breath of that history rather than attempt to interpret it. The sweep of that history is huge. And so, out of necessity, this book deals summarily with peripheral events that changed the history of Limerick. Some of these topics warrant a book in their own right. For example the conflict between the old corrupt Corporation of Limerick and the rebel breakaway group, St. Michael's Parish Commissioners, known as "Independents" led to two distinct local governments in Limerick. That extraordinary story directly impinges on the history of the building because it was these Commissioners who first constructed it as their independent "Town Hall". The very first public meeting held there, an Anti-Tory Protest meeting kindled a revolution that brought democracy to modern Limerick. The bitterness of the rivalry between these political groups lingers deep in the psyche of the city and can be traced back to the Charters of Limerick. Similarly the growth of the Public Library movement and Public Education in Limerick began at the Athenaeum warrants a book in its own right simply because they sparked another revolution. But if this book cannot analyse in detail the events that took place within its hallowed walls , it has at least chartered the way for others who may wish to deal with these subjects in greater depth. For example, The Limerick School of Art & Design and their educational authority, the Regional Technical College, are in a far better position to support a deeper analysis of the history of education in Limerick. The story of how the citizens of 19th century Limerick came to be in possession of great artworks by the old masters is explained by history. The subsequent history of these paintings and their present location is a story of international interest.
A city is responsible for its own image. The reputation of Limerick, like its ancient walls, has been battered in sieges, tarnished in the media but Limerick's pride in itself must never be compromised by any group. Daniel O'Connell, MP, the Liberator, after whom Limerick's principal street is named, spoke of the "glorious" reputation of the city in 1832. In an open-letter to the voters of the city, he reminded his audience of reasons why the rest of Ireland looked to Limerick as an example of a city whose civic pride and moral integrity in the face of adversity was such a powerful inspiration to the whole country. YOU WERE NEVER CONQUERED, he said. The violation of the Treaty of Limerick in 1691 led to the exile of 20,000 soldiers --the Flight of the Wild Geese -- whose battle-cry "Remember Limerick!" was heard all over the continent. They are remembered in European history not just for their physical courage in battle but most of all for their unflagging patriotism. They would not live under tyranny, they could not be conquered. The historical evidence within these pages attests to the fact that Limerick was once a city held in the highest regard throughout the world. The speeches of Isaac Butt MP, C.S.Parnell, Michael Davitt, John Redmond, Maud Gonne, Patrick Pearse and Roger Casement in the Limerick Athenaeum confirm that honourable reputation. The names of William Smith O'Brien MP, his daughter, Charlotte O'Brien and Stephen de Vere, poet, are revered in North American immigration history. These Limerick people saved the lives of tens of thousands of passengers who crossed the Atlantic. They changed laws, they changed the Passenger Acts. Their stories are part of Limerick's role in the heritage of the great Atlantic emigration of the 19th century.
Limerick will commemorate the 800th Anniversary of the Charter of King John in 1997. Originally this charter and the many others that followed were intended to be charters of conquest, their failure to subjugate Limerick is proof of the indomitable spirit of the people of this ancient city. That unconquerable spirit of Limerick can be commemorated with pride and celebrated with joy. The highest award the city can bestow on anyone is to grant them the Freedom of Limerick. Nominations for this honour are accepted by the council of the Corporation who by ancient tradition make the final decision. Perhaps in 1997 the corporation could extend that franchise to everyone. Schoolchildren could be given the same vote as adults as a positive exercise in civic involvement. The whole city could be granted the right to vote for candidates - from history as well as from the present day. Amends can be made to those forgotten heroes and heroines, i.e. William Smith O'Brien, the Bard of Thomond, Catherine Hayes and others whose reputations could be "re-membered" from history and reintegrated into Limerick's folklore in a meaningful way. The distinguished people who are still happily living amongst us, for example, Richard Harris, the film actor, Pat Lawless, the round-the-world yachtsman, Terry Wogan, the TV personality, Bill Whelan, the composer of Riverdance, the hugely successful pop group, the Cranberries, and a host of other personalities who have brought fame and honour to their native city. The benefits of a such a widespread display of democracy --unparalleled in the history of Limerick - would give an enormous boost to the restoration of the city's pride and reputation.
A nation's historic buildings, monuments, and countryside that are deemed worthy of preservation make up its (physical) heritage. Yet what took generations to build, conserve and preserve can be destroyed in a decade. The once pristine Lough Derg on the river Shannon is now unfit to swim in despite all the official reports and warnings from environmentalists to save the lake from pollution. The Minister for the Arts, Culture and the Gaeltacht, Mr Michael D. Higgins, announced in September 1996, a £10m scheme to list and preserve all heritage buildings throughout the country. He also confirmed that Ireland will finally ratify the European Convention for the Protection of the Architectural Heritage. It comes as somewhat of a shock to realise that there has been no regulations in place to preserve heritage buildings up until now despite all the talk about heritage as a "resource". At present public heritage projects are linked to European Regional Structural Funds which are designed to provide "products" for tourism. The scale of European funding to promote tourism/heritage projects in recent years is huge. In the years 1989-'93 Shannon Development received "over £16m" and in the period 1994-1999 an additional IR£18.6 million was made "available to the Shannon Region" from the European Regional Structural Fund (ERDF). [ Shannon Development Annual Reports 1993-'95]. A proportion of these funds have trickled into Limerick, the regions only city. One of these projects, the interpretative centre at King John's Castle, has provoked a major controversy over the architectural embellishments added to the 800 year old structure in 1989-'92. Behind this controversy lurks an even deeper issue which needs to be brought out into the open arena. It appears that the citizens of Limerick have no input whatsoever in the application of these European funds on their heritage buildings. Neither has the elected members of Limerick Corporation who at a meeting of the City Council united in their demands for a public meeting with Shannon Development to debate the issue. [Limerick Leader, 21 Sept, 1996]. This lack of communication between those who dispense ERDF grants and those to whom this largesse is designed to benefit is neither democratic nor is in the spirit of the European Union. It most certainly is not in the spirit of the people of Limerick who fought for centuries with the occupants of King John's Castle to regain control of their city. The irony of that ancient power struggle is that it still continues at all, despite 75 years of national independence. The players have changed, of course, but the right of a city to participate in the development of its own heritage resources is still under siege. The Castle is a symbol of Limerick.
The Theatre Royal /Athenaeum researched its history to rediscover its roots and will celebrate that heritage
appropriately with musical and theatrical events in 1997 and in the years beyond. A John McCormack
evening, a Percy French revival or a Catherine Hayes operatic weekend immediately spring to mind as
possibilities. A theatre, built by the audiences and performers of Limerick in 1856 to counteract the despair of
the great Famine, has again thrown open its doors to herald a new era in Limerick's entertainment history.
Everyone is welcome back. Anyone with an idea, a song or a script will be received with courtesy and keen
interest. The theatre is alive with excitement and energy simply because so many good stories have emerged
from its history to re-enact on stage. These stories are intended to inspire a new generation of creative artists
to celebrate their city. A city whose stories are full of comedy, drama, heroism, pageantry and music.
James A McMahon
Limerick.
September, 1996.
Definition: The Latin word Athenaeum is defined as:
"an institution for literary or scientific study".
"a library"; and is derived from the Greek word
"Athenaion- temple of Athene (used as a place of teaching)"
MYTHOLOGY
Athena, or Pallas Athene is one of the most important goddesses in Greek mythology. Legend has it that Athene sprang full-grown and armoured from the forehead of the god Zeus and was his favourite child. He entrusted her with his shield, adorned with the hideous head of Medusa the Gorgon, and his principal weapon, the thunderbolt. A virgin goddess, she was also called Parthenos (the maiden). Her major temple, the Parthenon, in Athens was dedicated to her because of her gift of the olive tree to the people of that city. Athena was primarily the goddess of industry, the arts and in later mythology, of wisdom. Athena was a patron of agriculture and of the crafts of spinning and weaving. In Roman mythology, Athena is identified with the goddess Minerva.
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- The Athenaeum
A literary and scientific journal published in London between the years 1824-1921.
- The Athenaeum Club
Was founded in London in 1824 by John Wilson Croker (1780-1857), who was of Anglo-Irish parentage with connections in County Limerick. Other founder members of this literary and scientific club included William Blake, Robert Peel MP, Lord John Russell, Sir Thomas Lawrence, Rev T.R. Malthus, Sir Walter Scott, Michael Faraday. William M.Turner and others. William Butler Yeats, the Irish poet was admitted under rule 2, ( no admittance fees) in the 1920s after he won the Nobel prize for literature.
- The Athenaeum Movement:
The movement spread throughout the world. In the United Kingdom, Athenaii were located at Bristol, Leeds, London, and Manchester. In Ireland, the Cork Athenaeum was built by public subscription c1853. The premises were sold in 1863 and became the Old Cork Opera House which was destroyed by fire in 1955. Dublin had an Athenaeum at 43 Grafton Street in 1856. In the same year, the Dublin Literary Society changed its name to the Dublin Literary Society and Hibernian Athenaeum. Enniscorthy had an Athenaeum in the 1930s, famous now because the actors Michael Mac Liammoir and Hilton Edwards first met there to perform with the Anew McMaster Shakespeare Company. The history of the Limerick Athenaeum (1852-1946) is outlined in this volume. In the United States there are Athenaii at Boston, Chicago, New York, Rochester, and other centres. In India, there is mention of a Madras Athenaeum in 1870.
- The Athenaeum Painting:
In 1796, the American artist, Gilbert Stuart painted the most famous of all early American portraits, that of George Washington, which was later used in the design of the one dollar bill. The original is at the Museum of Fine Arts, Boston and is known as the "Athenaeum" portrayal.