In the whole course of our work at the theatre we have been, I may say, drenched with advice by friendly people who for years gave us the reasons why we did not succeed... All their advice, or at least some of it, might have been good if we had wanted to make money, to make a common place of amusement.

It is the old battle, between those who use a toothbrush and those who don't.

It is not always them that has the most that makes the most show.

In my childhood there was every year at my old home, Roxborough, or, as it is called in Irish, Cregroostha, a great sheep-shearing that lasted many days. On the last evening there was always a dance for the shearers and their helpers, and two pipers used to sit on chairs placed on a corn-bin to make music for the dance.

My husband was in the war of the Crimea. It is terrible the hardships he went through‚ to be two months without going into a house‚ under the snow in trenches. And no food to get‚ maybe a biscuit in the day. And there was enough food there‚ he said‚ to feed all Ireland; but bad management‚ they could not get it.

In writing a little tragedy, 'The Gaol Gate,' I made the scenario in three lines, 'He is an informer; he is dead; he is hanged.' I wrote that play very quickly.

I hold that the beginning of modern Irish drama was in the winter of 1898, at a school feast at Coole, when Douglas Hyde and Miss Norma Borthwick acted in Irish in a Punch and Judy show; and the delighted children went back to tell their parents what grand curses 'An Craoibhin' had put on the baby and the policeman.