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John Mahoney

Roots: The Mahoney Clan

By Maggie Holland, Editorial Assistant
November / December 2018

November 1, 2018 by 18 Comments

The O'Mahony crest.

The surname Mahoney originally designated the descendants of Mathghamhain, an Irishman of the early 11th century who was killed in the Battle of Clontarf in 1014. He was the son of Cian mac Máelmuaid and his wife Sadhbh, who was the daughter of the High King Brian Boru, a member of the Eóganacht Raithlind dynastic line descending from Eoghan Mor, a 2nd-century King of Munster. … [Read more...] about Roots: The Mahoney Clan

Irish Eye on Hollywood: TV & Streaming Report

By Tom Deignan, Columnist
April / May 2018

February 28, 2018 by Leave a Comment

New, recent, and noteworthy Irish shows streaming on various services.  ℘℘℘ The aforementioned Domhnall Gleeson is currently appearing in the Netflix comedy-drama A Futile and Stupid Gesture, about the wild and crazy days of the magazine National Lampoon, which influenced a generation of comics and launched the careers of many Irish American comedy writers, including Doug … [Read more...] about Irish Eye on Hollywood: TV & Streaming Report

Irish Eye on Hollywood: TV & Streaming Report

By Tom Deignan, Columnist
April / May 2018

February 28, 2018 by Leave a Comment

New, recent, and noteworthy Irish shows streaming on various services.  ℘℘℘ The aforementioned Domhnall Gleeson is currently appearing in the Netflix comedy-drama A Futile and Stupid Gesture, about the wild and crazy days of the magazine National Lampoon, which influenced a generation of comics and launched the careers of many Irish American comedy writers, including Doug … [Read more...] about Irish Eye on Hollywood: TV & Streaming Report

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September 8, 1994

A Roundabout Theater Company revival of Brian Friel’s famous 1964 play “Philadelphia Here I Come!” opens at the Criterion Center in New York. The production starred Robert Sean Leonard as Gareth O’Donnell as well as a supporting cast of notable Irish character actors, including Milo O’Shea, Pauline Flanagan, Leo Leyden and Jarlath Conroy. “This 1964 work established the Irish playwright as one of international stature,” the New York Times wrote in its review, “30 years later, it seems no less fresh and vital.”

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