Micheál Mac Liammóir
Mac Liammóir inThe Importance of Being Oscar
Born	Alfred Lee Willmore (1899-10-25)25 October 1899 Willesden, Middlesex, England
Died	6 March 1978(1978-03-06) (aged 78) Dublin, Ireland
Occupation(s)	Actor, author, playwright, painter, poet, impresario
Known for	Co-founding theGate Theatre

Micheál Mac Liammóir (bornAlfred Lee Willmore; 25 October 1899 – 6 March 1978) was an actor, designer, dramatist, writer, andimpresario in 20th-century Ireland. Though born in London to an English family with no Irish connections, he emigrated to Ireland in early adulthood, changed his name, invented an Irish ancestry, and remained based there for the rest of his life, successfully maintaining a fabricated identity as a native Irishman born inCork.

With his partner,Hilton Edwards, and two others, Mac Liammóir founded theGate Theatre in Dublin, and became one of the most recognisable figures in the arts in twentieth-century Ireland. As well as acting at the Gate and internationally, he designed numerous productions, wrote eleven plays, and published stories, verse and travel books in Irish and English. He wrote and appeared in three one-man shows, of whichThe Importance of Being Oscar (1960) was the most celebrated, achieving more than 1,300 performances.

Mac Liammóir was born Alfred Lee Willmore, inWillesden, in north-west London, into a family with no Irish connections. He was the youngest child and only son of Alfred George Willmore (1863–1934), a forage buyer for the firm of Whitney's ofBayswater, and his wife, Mary,née Lee (1867–1918).^{[1][n 1]}

He attended primary school in Willesden and then attended a children's theatre academy run by Lila Field. He became a professional actor at the age of twelve; his sister Marjorie took charge of his general education and was his chaperone on tours that included visits to venues in Ireland as well as Britain. He made his debut in 1911, as King Goldfish in Field's playThe Goldfish,^[2] alongside another child actor,Noël Coward.^[3] He later said, "I learned from Lila Field the absolute ABC of getting on and off the stage without disgracing oneself; I learned what a cue meant, what a stick ofgreasepaint was, the elements of timing, and that ghastly thing, the exploitation of childish charm".^[4] In September of that year he first worked forSir Herbert Tree, playing Macduff's son inMacbeth.^[2] From Tree he quickly learned "a rude lesson" that charm was not enough: "I think it was Tree who first awoke the actor's imagination in me and made me feel the terror of the Witches' Coven and the horror of the ghost-haunted banquet".^[4]

In the Christmas season of 1911, he played Michael Darling inPeter Pan, and in June 1912, he playedOliver Twist in Tree's revival of the stage version of the novel.^[2] After two further child roles, and appearances in four silent films (now lost) he temporarily abandoned acting. After a summer in Spain, visiting his grandparents and becoming fluent in Spanish,^[5] he studied painting atWillesden Polytechnic and then theSlade School of Art in 1915–16.^[1]

With a fellow student, Mary O'Keefe, he attended Irish language classes at theLudgate Circus branch of theGaelic League; the biographer Christopher Fitz-Simon thinks it probable that they saw plays byW. B. Yeats,Lady Gregory andJ. M. Synge during the visits of theAbbey Theatre company in this period.^{[n 2]} Both students developed a keen interest in theIrish Literary Revival.^[1]

Mac Liammóir, now calling himself "Michael Willmore", made a brief return to the stage in February 1917, inFelix Gets a Month, a "whimsical comedy" at theHaymarket Theatre.^[2][7] The following month he went with O'Keefe and her mother to Ireland, the former having contractedtuberculosis and been prescribed "fresh air", the latter anxious to escapeZeppelin raids. Fitz-Simon suggests that Mac Liammóir's motive was to escape conscription into the army in the latter stages of theFirst World War.^[1]

In Ireland Mac Liammóir earned a modest living as a freelance illustrator for newspapers and books, acted from time to time, and designed for the Irish Theatre and Dublin Drama League.^[1][2] He assimilated himself into Irish culture and politics. He campaigned forSinn Féin in the1918 General Election, published his first book, a collection of stories in Irish, in 1922, and continued to write verse and prose in Irish and English. He experimented with various gaelicised versions of his name, including "Mac Uaimmhóir" and "Mac Liaimmhóir".^[5] He built up a fictitious identity as a native Irishman born in Cork.^[1]

During most of the 1920s Mac Liammóir continued to live with the O'Keefes. In search of a healthy environment for Mary, they moved between Switzerland and the French Riviera. He exhibited successfully in local galleries and, in 1923, at the Leigh Gallery in London.^[1] He later wrote a book of recollections – in Irish – about his travels.^[5] In 1925 he starred in a silent film,Land of Her Fathers with a cast of mainlyAbbey Theatre players.^[8]

Mary O'Keefe died in 1927. Mac Liammóir, now known by that name, returned to the theatre. His sister Marjorie had married the actor-managerAnew McMaster whose touring company Mac Liammóir joined,^[1] playing Shakespearean roles including Bassanio inThe Merchant of Venice, Laertes inHamlet and Cassio inOthello.^[2] While on tour in the south of Ireland, he met another young English actor,Hilton Edwards, who was to become his lifelong partner, both personal and professional. Mac Liammóir and Edwards decided to settle in Dublin, with the intention of setting up their own theatre there.^[9]

In 1928 Mac Liammóir wrote, directed, designed and starred inDiarmuid and Gráinne for the opening of the Irish language theatre,An Taibhdhearc, inGalway.^[10] He subsequently produced twenty plays there.^[2]

Also in 1928, Mac Liammóir was one of the four founders of the Gate Theatre Studio, later simply the Gate Theatre, alongsideHilton Edwards,Daisy Bannard Cogley,^[11] and Gearóid Ó Lochlainn.^[12][13][14] Mac Liammóir and Edwards had been considering theatrical plans for Dublin, while Bannard Cogley (a friend of Mac Liammóir) and Ó Lochlainn had been discussing finding a more permanent theatre space, and they met, along with some mutual friends, in Bannard Cogley's club at 7 Harcourt Street, in spring 1928. After further meetings, the quartet rented the Peacock Theatre and launched the Gate Theatre Studio there on 14 October 1928.^[15] The theatre studio spent its early years at the 102-seat Peacock Theatre^[16] and opened with a production ofPeer Gynt, and Mac Liammóir subsequently acted in and designed nearly 300 productions at the Peacock and, after the company gained its own home in 1930, on Cavendish Row, at the Gate.^[17] He appeared in a wide range of plays, from Shakespeare (Romeo and Othello) toIbsen (Oswald inGhosts and the title role inBrand) andEugene O'Neill (Orin inMourning Becomes Electra), as well as lighter pieces.^[17] Over the next fifty years the Gate Theatre company presented a programme of new or experimental plays byWilde,Shaw,Coward and many others. Mac Liammóir and Edwards fostered the careers of new Irish dramatists such asDenis Johnston and rising young actors includingOrson Welles.^{[9][n 3]}

Mac Liammóir returned to theWest End in 1935, with the Gate company. The theatrical paperThe Era rated his Hamlet one of the best in recent years: "charged with force, intelligence, humanity and dramatic certainty … a dominating and moving piece of acting",^[19] and said that the Gate company "looks like putting the Abbey in the shade".^[20] The cosmopolitan atmosphere of Mac Liammóir and Edwards' Gate Theatre was contrasted with the earnest Celticism of the Abbey, and the two Dublin theatres were affectionately dubbed "Sodom and Begorrah".^[9][21]

Mac Liammóir remained based in Ireland during theSecond World War. In the post-war years, he returned to the West End in his own playIll Met by Moonlight.The Stage thought the piece "too obscure and too discursive", but praised the performances of Mac Liammóir, Edwards and their supporting cast.^[22] The following year the company played a short season onBroadway – Mac Liammóir's début there – giving hisWhere Stars Walk, Johnston'sThe Old Lady Says No!, and Shaw'sJohn Bull's Other Island.^[17] In 1951 he played Iago to Welles's Othello in the latter'sfilm adaptation. In his early fifties, he was unusually old for the role, but Welles wanted Iago played as an older, impotent man consumed by envy of the younger Othello.^[23] Mac Liammóir returned to the role onstage at theDublin Festival in 1962 oppositeWilliam Marshall in the title role.^{[17][n 4]}

In 1954 Mac Liammóir returned to London, playing Brack inHedda Gabler withPeggy Ashcroft as Hedda.^[25] In the role he was judged to be both sinister and amusing.^[26] Most of his work continued to be at the Gate, but in 1959 he returned to New York to play Don Pedro inMuch Ado About Nothing, withJohn Gielgud as Benedick andMargaret Leighton as Beatrice.^[27]

Mac Liammóir's biggest theatrical success came in 1960, with his one-man showThe Importance of Being Oscar, which won enthusiastic reviews and did well at the box office. It opened at the Gate, after which he played it on Broadway, in London and on tour around the world. He appeared in the piece more than 1,300 times between 1960 and 1975.^[28] He followed this in May 1963 with a new one-man entertainmentI Must Be Talking to My Friends, and in 1970 presented a third,Talking About Yeats.^[17] Also in 1963 he had a key role as the ironic, mocking, unseen narrator of the multi-Oscar-winning filmTom Jones.

Despite Ireland's anti-gay laws, not repealed in their lifetimes, Edwards' and Mac Liammóir's relationship gained wide acceptance.^{[n 5]} The writer Éibhear Walshe has described them as Ireland's only publicly acknowledged homosexuals.^[30] They were jointly createdfreemen of the city of Dublin in 1973, the first theatre people to be thus honoured.^[1] Before that, Mac Liammóir had received the Lady Gregory Medal for literature in 1960 and an honorary doctorate fromTrinity College in 1963.^[1][5]

Mac Liammóir made his final stage performance at the Gate in 1975 inThe Importance of Being Oscar.^[28] He died at his and Edwards' Dublin home, 4Harcourt Terrace, on 6 March 1978. Walshe records, "as a measure of the public acceptance of the MacLiammóir–Edwards partnership, thepresident of Ireland attended Micheál's funeral, two days later, atSt Fintan's, Howth, Dublin, and paid his respects to Hilton Edwards as chief mourner".^[9]

Mac Liammóir continued to give the false impression that he was native Irish throughout his life, including as late as 1976 reminiscing in an interview about how he "first went to [London]" as a child, how as a young man he "would get back to Ireland as soon as [he] could" and that he was originally from Cork.^[31] For many years after his death reference books continued to record him inaccurately as a native of Cork.^{[n 6]}

In hisWho's Who in the Theatre entry, Mac Liammóir listed ten plays of which he was the author, as well as the three one-man shows, and an unspecified number of adaptations ("Jane Eyre,The Picture of Dorian Grey,A Tale of Two Cities, etc.")^[17]

TheBritish Film Institute lists eleven films in which Mac Liammóir took part.^[32]

An Cóitín Dearg (The Red Petticoat), choreography byJoan Denise Moriarty, music byAloys Fleischmann, costume and set designs by MacLiammóir, first performed in May 1951 in Cork by the Cork Ballet Company, accompanied by the Cork Symphony Orchestra.

The Enchanted Stream, based on the poem by W.B. Yeats 'Song of Wandering Aengus', choreography by Anton Dolin, musicRondes de Printemps by Debussy, décor by Edward Delany, first performed by theLondon Festival Ballet, accompanied by theLondon Philharmonic Orchestra, at the Dublin International Theatre Festival of 1959.

Full Moon for the Bride, choreography by Joan Denise Moriarty, music byA. J. Potter, costume and set designs by MacLiammóir, first performed in Cork and then in Dublin's Gaiety Theatre in November 1974 by the Cork Ballet Company, accompanied by the Cork Symphony Orchestra, conducted by Aloys Fleischmann.^[33]

Books about Mac Liammóir includeMicheál Mac Liammóir: Designs & Illustrations 1917–1972, by Richard Pine and Orla Murphy (1973);^[34]Enter Certain Players: Edwards–MacLiammoir and the Gate 1928–1978, edited by Peter Luke (1978);^[35] a biography,The Importance of Being Micheál by Micheál Ó hAodha (1990)^[36] andThe Boys: A Double Biography, by Christopher Fitz-Simon (1996).^[37]

In 1985, Orson Welles was the narrator forTwo People... With One Pulse, a documentary film about Mac Liammoir and Edwards.^[38] To mark Mac Liammóir's centenary in 1999 theBBC commissioned a documentary,Dear Boy: The Story of Michéal Mac Liammóir, which included rare archive footage.^[39]

Mac Liammóir is the subject of the 1990 playThe Importance of Being Micheál by John Keyes;^[40]Frank McGuinness's play 2008Gates of Gold is inspired by Edwards and Mac Liammóir;^[41] and Mac Liammóir is the subject ofAntoine Ó Flatharta's 2023 playWáltsáil Abhaile.^[42]

The annualDublin Gay Theatre Festival presents the "Michéal Mac Liammóir Award for Outstanding performance by a male".^[43]

• Castle, Charles (1972).Noël. London: W H Allen.ISBN 978-1-34-907795-3.
• Herbert, Ian, ed. (1977).Who's Who in the Theatre (sixteenth ed.). London and Detroit: Pitman Publishing and Gale Research.ISBN 978-0-273-00163-8.
• Hogan, Robert (2016).The Macmillan Dictionary of Irish Literature. London: Macmillan.ISBN 978-0-491-00534-0.
• Mac Liammóir, Micheál (1952).Put Money in Thy Purse: The Diary of the Film "Othello". London: Methuen.OCLC 786105342.
• Morley, Sheridan (2006).Theatre's Strangest Acts: Extraordinary But True Tales from the History of Theatre. London: Robson.ISBN 978-1-86-105674-0.
• Parker, John, ed. (1939).Who's Who in the Theatre (ninth ed.). London: Sir Isaac Pitman and Sons.OCLC 1036973910.
• Taylor, John Russell (1998).Orson Welles: A Celebration. London: Pavilion.ISBN 978-1-86-205127-0.
• Vaněk, Joe (2005).Scene Change: One Hundred Years of Theatre Design at the Abbey Theatre. Dublin: Irish Museum of Modern Art.ISBN 978-1-90-381139-9.
• Wallace, Martin (1983).100 Irish Lives. Newton Abbot: David & Charles.ISBN 978-0-38-920364-3.

Academic articles on Mac Liammóir available in open access regime

• Markus, Radvan."Micheál mac Liammóir, the Irish Language, and the Idea of Freedom." Marguérite Corporaal and Ruud van den Beuken, eds.A Stage of Emancipation: Change and Progress at the Dublin Gate Theatre. Liverpool: Liverpool University Press, 2021, 113-131.
• Dean, Joan Fitzpatrick, and Radvan Markus."The Internationalist Dramaturgy of Hilton Edwards and Micheál mac Liammóir." Ondřej Pilný, Ruud van den Beuken, Ian R. Walsh, eds.Cultural Convergences: The Dublin Gate Theatre, 1928–1960. London: Palgrave Macmillan, 2021, 15-46.

• Micheál Mac Liammóir atIMDb

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