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.
A den of egoists: Chris McCormack reviews the Gate Theatre’s production of Nina Raine’s family drama.
An ambitious reimagining: Chris McCormack reviews a new play inspired by Ibsen’s A Doll’s House.
A meditation on loss: Chris McCormack reviews Dead Centre’s new production about Shakespeare’s son.
“A spectator, no less than a society, is complicit”: Chris McCormack reviews a site-specific production about the history of the Irish family.