The missing link between boxing and burlesque: Chris McCormack kicks off Dublin Fringe coverage with a trip to the wrestling.
Generating the next generation: Chris McCormack reviews the Dublin Youth Theatre’s performance at the Abbey Theatre.
Speaking out on misogyny and elitism: Chris McCormack reviews Smock Alley Theatre’s new production of George Bernard Shaw’s play.
“A shrewd exploration of identity politics”: Chris McCormack reviews a new musical presented by Ill-Advised Theatre Company in Dublin.
As a pro-choice mural is painted over in Dublin, Chris McCormack explores the power of art and performance to create new imagery around abortion.
“Who will help me put the past out of the present?”: Chris McCormack reviews a new work about the pioneering Irish designer, Eileen Gray.
A menacing presence sweetly seeking to impress: Chris McCormack reviews Kellie Hughes’ play about femininity and death.
Building a nation is dirty business: Chris McCormack reviews Devious Theatre Company’s new play about a one-eyed hothead, a defrocked priest and a doctor who faked his own death.
Role-play gaming and vampiric talk show hosts: Chris McCormack reviews a slightly over-ambitious new play by Lauren-Shannon Jones.
Giving voice: Chris McCormack reviews a rarely-performed work by Tennessee Williams.
“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.