William Grattan Tyrone Power (20 November 1797 â€" 17 March 1841),
known professionally as Tyrone Power, was an Irish stage actor,
comedian, author and theatrical manager. He was an ancestor of actor
Tyrone Power and is also referred to as Tyrone Power I.Born in
Kilmacthomas, County Waterford, Ireland, Power was the son of Tyrone
Power, reported to be “a minstrel of sorts†, by his marriage to
Maria Maxwell, whose father had been killed while serving in the
British Army during the American Revolutionary War. His father was
related to the Powers who were of the Anglo-Irish landed gentry and to
George de la Poer Beresford, 1st Marquess of Waterford.The young Power
took to the stage, achieving prominence throughout the world as an
actor and manager. He was well known for acting in such Irish-themed
plays as Catherine Gore's King O'Neil (1835), his own St. Patrick's
Eve (1837), Samuel Lover's Rory O'More (1837) and The White Horse of
the Peppers (1838), Anna Maria Hall's The Groves of Blarney (1838),
Eugene Macarthy's Charles O'Malley (1838) (see Charles Lever), and
Bayle Bernard's His Last Legs (1839) and The Irish Attorney (1840). In
his discussion of these works, Richard Allen Cave has argued that
Power, both in his acting as well as his choice of plays, sought to
rehabilitate the Irishman from the derogatory associations with "stage
Irishmen" ("Staging the Irishman" in Acts of Supremacy [1991]).
known professionally as Tyrone Power, was an Irish stage actor,
comedian, author and theatrical manager. He was an ancestor of actor
Tyrone Power and is also referred to as Tyrone Power I.Born in
Kilmacthomas, County Waterford, Ireland, Power was the son of Tyrone
Power, reported to be “a minstrel of sorts†, by his marriage to
Maria Maxwell, whose father had been killed while serving in the
British Army during the American Revolutionary War. His father was
related to the Powers who were of the Anglo-Irish landed gentry and to
George de la Poer Beresford, 1st Marquess of Waterford.The young Power
took to the stage, achieving prominence throughout the world as an
actor and manager. He was well known for acting in such Irish-themed
plays as Catherine Gore's King O'Neil (1835), his own St. Patrick's
Eve (1837), Samuel Lover's Rory O'More (1837) and The White Horse of
the Peppers (1838), Anna Maria Hall's The Groves of Blarney (1838),
Eugene Macarthy's Charles O'Malley (1838) (see Charles Lever), and
Bayle Bernard's His Last Legs (1839) and The Irish Attorney (1840). In
his discussion of these works, Richard Allen Cave has argued that
Power, both in his acting as well as his choice of plays, sought to
rehabilitate the Irishman from the derogatory associations with "stage
Irishmen" ("Staging the Irishman" in Acts of Supremacy [1991]).
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