Guided by unbelievable forces: Cristín Kehoe’s new play interrogating Ireland lacks focus.
A wistful trip back: Chris McCormack reviews the second part of Roddy Doyle’s Barrytown Trilogy.
Love and playwriting: Chris McCormack reviews Brian Friel’s two-part play.
Boom and bust: Chris McCormack reviews Veronica Dyas’ new play inspired by Bertolt Brecht’s The Mother.
An expression of thanks: choreographer Oona Doherty crafts a religious reflection on her home town.
Rivetingly dark: Junk Ensemble’s dance-theatre reimagining of Vladimir Nabokov’s Lolita is thrilling and revelatory.
“What is essential is invisible”: Morgan Creative’s adaptation of Antoine de Saint-Exupéry’s novella is handsome and imaginative.
A drama as deluded as its characters: Robert Higgins’ debut play goes on an unconvincing journey.
Pain felt through generations: Marina Carr’s play explores psychological trauma and family.
Chris McCormack reviews Stephen Sondheim’s musical about nine people who attempted to assassinate US presidents
Losing steam: Irish National Opera’s first production runs out of ideas and invention.
A meditation on the writer: Chris McCormack reviews an experimental piece of theatre inspired by Samuel Beckett
Voicing the fears of refugees: Catherine Young’s new work explores the life of asylum seekers in Ireland.
Abstracted grief: Cillian Murphy stars in a story of loss, adapted by Enda Walsh.
Mission Abort: Tara Flynn’s one-woman play with songs is a surprising satire on Ireland’s treatment of women.