A portrait of an artist: Rosemary Waugh reviews Concert Theatre’s take on Anne Brontë’s novel.
Don’t mention the F-word: Geoff Mills reviews Alistair Beaton’s play about – whisper it – shale gas extraction.
Friends until the end of time: Rosemary Waugh reviews Alice Nicholas’s new play about transgender teenagers.
Purposeful, stylish and clearly defined: Adam Bruce falls in love with Deborah McAndrew’s adaptation of Anne Brontë 1848 novel.
Despite a slightly muddled production, Tracey Sinclair finds that Arthur Miller’s The Crucible remains as compelling and relevant as ever.
The ferocious fires of Ireland’s culture wars: Chris McCormack reviews Emily Gillmor Murphy’s dark new three-hander at Dublin’s Theatre Upstairs.
A low drone of anxiety: Catherine Love reviews El Conde de Torrefiel’s show as part of Transform 17.
“There’s no such thing as paranoia.” Rosemary Waugh reviews Titus Halder’s unsettling vision of what awaits after graduation.
A galvanising call to arms: Catherine Love reviews RashDash’s new show as part of Transform 17.
Energy, volume and trippy exuberance: Peter Kirwan reviews Ramps on the Moon’s superb new version of The Who’s Tommy.
Virtuosity hidden in the most allusive places: Chris McCormack is at Galway Theatre Festival to review Emma O’Grady’s unique solo show.
Lean, mean and theatrically audacious: Christine Irvine is gripped by Fire Exit director David Leddy’s first one-man show in over a decade.
More than a greatest hits medley: Tracey Sinclair reviews Split Britches’s revisiting of over three decades of work.
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.