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.
The ferocious fires of Ireland’s culture wars: Chris McCormack reviews Emily Gillmor Murphy’s dark new three-hander at Dublin’s Theatre Upstairs.
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.
How does epic love settle into lethargy? Chris McCormack reviews a radical retelling of the Orpheus and Eurydice myth.
Is it all just dopamine? Chris McCormack reviews a revival of Lucy Prebble’s play about love and drugs.
Things haven’t changed greatly for Chekhov’s characters since last we saw them: Chris McCormack reviews Afterplay as part of the Beckett Friel Pinter festival.
A study of authoritarianism: Chris McCormack reviews the final play in the Gate Theatre’s Beckett Friel Pinter festival.
The National Theatre of Ireland goes self-reflexive: Chris McCormack reviews the homecoming of The Corn Exchange’s play about the founding of the Abbey Theatre.
Criticism and debate: Chris McCormack reviews Donald Margulies’s play about a writer and her pupil.
Realist and meta-realist: Chris McCormack reviews Malaprop Theatre’s new work about truth in the modern age.
Mining private grief for public spectacle: Chris McCormack reviews Ellen Flynn’s new drama about trauma and surveillance.
Stuck in a cycle: Chris McCormack reviews the debut play by novelist Kevin Barry.
“Every man has the Dáil in his head”: Chris McCormack reviews a stage adaptation of John B. Keane’s novellas