Voices from beyond the grave: Chris McCormack makes contact with the spirit realm in Darkfield’s new installation.
Space for freethinking: Chris McCormack reviews the Abbey Theatre’s adaptation of a Ken Loach film.
Dreaming of a new destination: Chris McCormack reviews a double bill of two short plays by Tennessee Williams.
Strindbergian in intensity: Chris McCormack reviews Donnacha Dennehy and Enda Walsh’s new opera.
A magical flourish: Chris McCormack reviews Collapsing Horse’s production of a surreal Chekhovian comedy.
A vivid plane of toxic femininity: Chris McCormack reviews Druid’s revival of Mark O’Rowe controversial play.
“A blast of bitter wilderness”: Chris McCormack reviews Conall Morrison’s chilly musical adaptation of Georg Büchner’s unfinished classic.
Heading towards the green light: Chris McCormack reviews an immersive staging of F. Scott Fitzgerald’s famous novel.
“A suburban Dublin equivalent of Sartre”: Chris McCormack reviews the Abbey Theatre’s staging of Roddy Doyle’s Facebook dialogues.
Rave theatre: Chris McCormack reviews a dystopian western at Cork Midsummer Festival.
Fascinatingly elegiac: Chris McCormack reflects on a revival of Lynda Radley’s 2011 play at Cork Midsummer Festival.
As loaded as its title: Chris McCormack reviews Painted Bird’s Susanne R. Day resurrection job at Cork Midsummer Festival.
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.