Searching in the dark: Chris McCormack reviews an autobiographical play about a bid to discover the author’s birth parents.
A new report, Gender Counts, reveals stark statistics about the under-representation of women in Irish Theatre. Chris McCormack asks: What next?
This bird is stuck in its nest: Ross Gaynor’s eclectic new one-man drama at Dublin’s Theatre Upstairs doesn’t quite deliver, says Chris McCormack.
Giving the unbelievable a fair hearing: Chris McCormack reviews Philip Conaughton’s new dance-opera about UFO sightings.
Bacchanalia and broccoli: Chris McCormack reviews Chris Haring and Michel Blazy’s collaboration, performed as part of the Dublin Dance Festival.
The universe will deliver: Chris McCormack is mesmerised by Maria Nilsson Waller’s “absorbing” new work at Dublin Dance Festival.
Reasons to be cheerful: Chris McCormack finds Northern Ireland Opera’s production of Radamisto too optimistic in outlook.
Faeries, changelings, merrows and hawthorn trees: Chris McCormack dives into Irish folklore in Big Telly Theatre’s adaptation of Jane Talbot’s story collection.
A state of unbridled fury: Chris McCormack reviews Eva O’Connor’s new play about bitter enemies and unlikely friends.
The ferocious fires of Ireland’s culture wars: Chris McCormack reviews Emily Gillmor Murphy’s dark new three-hander at Dublin’s Theatre Upstairs.
Virtuosity hidden in the most allusive places: Chris McCormack is at Galway Theatre Festival to review Emma O’Grady’s unique solo show.
A body squirming in the gallows: Chris McCormack heads to Galway Theatre Festival to review Brick Wall Theatre’s production of Pierre Brault’s 1999 play.
Lessons woven from art history: Chris McCormack emerges, paint-splattered and perceptive, from Emma Jordan’s revival of John Logan’s 2009 play.
Shaking heaven to be heard: Chris McCormack is swept up in Brokentalkers’ politically charged, modern-day reimagining of the Passion Play.
Cowardly nostalgia: Chris McCormack lingers in the halcyon bliss of Noël Coward’s 1930 comedy.