“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.
“Desire, depravity and immorality”: Chris McCormack reviews a stage adaptation of Pádraic Ó’Conaire as part of the Galway Theatre Festival.
“How do we remember it?” Chris McCormack attends Louise Lowe’s Dublin-based promenade work commemorating the Easter Rising.
“It exposes the pressures felt on women’s bodies”: Chris McCormack reviews Dublin Dance Festival’s collection of works by female choreographers.
“On this scale, man doesn’t seem to stand a chance.” Chris McCormack reviews Blue Raincoat Theatre Company’s intrepid performance.
Chris McCormack reviews “a production that is part play, part travelling book repository.”