“The pain of separating simulation from the real deal”: Chris McCormack reviews Malaprop’s cyber drama.
“This production sharply reminds that people are still sacrificing today”: Chris McCormack reviews Corcadorca’s promenade through Irish history.
“Part immersive theatre, part documentary, part 30 minutes longer than its advertised time”: Chris McCormack reviews Makeshift Ensemble and Postmodernsquare’s show at the Cork Midsummer Festival.
“A savage vision of Ireland”: Chris McCormack reviews BrokenCrow’s performance of two short stories by Kevin Barry.
As ‘Chekhov’s First Play’ opens at MayFest, the co-artistic director of Dead Centre talks to Chris McCormack about Beckett, Lippy, and how theatre can interrogate meaninglessness.
“Desire, depravity and immorality”: Chris McCormack reviews a stage adaptation of Pádraic Ó’Conaire as part of the Galway Theatre Festival.
“How do we remember it?” Chris McCormack attends Louise Lowe’s Dublin-based promenade work commemorating the Easter Rising.
“It exposes the pressures felt on women’s bodies”: Chris McCormack reviews Dublin Dance Festival’s collection of works by female choreographers.
“On this scale, man doesn’t seem to stand a chance.” Chris McCormack reviews Blue Raincoat Theatre Company’s intrepid performance.
Chris McCormack reviews “a production that is part play, part travelling book repository.”
Chris McCormack reviews a new adaptation of August Strindberg’s original work.
A spirited production that relishes in busting assumptions of female weakness.
Physicality is pushed to the verge of injury in Philip Connaughton and Ashley Chen’s collaboration.
Young love and companionship in the shadow of the Easter Rising.
Shepherd’s pie and politeness give way to duct tape and dead bodies in John Morton’s new work.