The Wild Wild West: Dermot Bolger’s one-man play explores the life of a beloved Dublin eccentric.
Dancing feet: Nancy Harris’ Hans Christian Andersen adaptation brims with “barely suppressed sorrow and heartbreak”.
Sweet and sour: Jessica Leen’s new play sounds great, but regresses into petty drama.
D’Oh! The Simpsons is all that’s survived in Anne Washburn’s bold “post-electric” play.
Cheerfully imaginative: Chris McCormack reviews the Abbey Theatre’s family show about a musical prodigy.
Christmas is the time for revenge: Chris McCormack reviews Philip St. John’s new supernatural drama.
Can an emoji transform back into real emotion? Jarlath Tivnan’s new play asks compelling questions of mental illness.
‘Is this a safe space? Asking for a friend,’ Chris McCormack reviews TheatreofplucK’s performance as part of Outburst Queer Arts Festival 2017.
Resolution isn’t that simple: Chris McCormack reviews Owen McCafferty’s new play at the Abbey Theatre.
A Joyce to rejoice in: Andrew Synnott and Arthur Riordan’s operatic adaptation finds a rich resonance.
Dead good: Louise White’s eclectic exploration of mortality is ebullient and profound.
As Dublin’s Gate Theatre becomes the centre of allegations of sexual harassment, Chris McCormack explores the history of womens’ public testimony in Irish theatre.
Cold as raw data: Chris McCormack reviews Stacey Gregg’s contemporary take on Kafka’s The Trial.
Jealousy, longing, loneliness and insecurity: Chris McCormack reviews a revival of Eugene McCabe’s rarely-performed play set in rural Ireland.
“It seems misguided to smooth over the edges in a novel like Ulysses”: Chris McCormack is disappointed by Graham McLaren’s Abbey Theatre staging of James Joyce’s modernist masterpiece.