Can an emoji transform back into real emotion? Jarlath Tivnan’s new play asks compelling questions of mental illness.
Resolution isn’t that simple: Chris McCormack reviews Owen McCafferty’s new play at the Abbey Theatre.
Dead good: Louise White’s eclectic exploration of mortality is ebullient and profound.
Cold as raw data: Chris McCormack reviews Stacey Gregg’s contemporary take on Kafka’s The Trial.
Jealousy, longing, loneliness and insecurity: Chris McCormack reviews a revival of Eugene McCabe’s rarely-performed play set in rural Ireland.
“It seems misguided to smooth over the edges in a novel like Ulysses”: Chris McCormack is disappointed by Graham McLaren’s Abbey Theatre staging of James Joyce’s modernist masterpiece.
A den of egoists: Chris McCormack reviews the Gate Theatre’s production of Nina Raine’s family drama.
An ambitious reimagining: Chris McCormack reviews a new play inspired by Ibsen’s A Doll’s House.
A meditation on loss: Chris McCormack reviews Dead Centre’s new production about Shakespeare’s son.
“A spectator, no less than a society, is complicit”: Chris McCormack reviews a site-specific production about the history of the Irish family.
Chris McCormack reviews an “excellent and beguiling new play” about living with autism in contemporary Ireland.
Sing it loud: Chris McCormack reviews a new children’s show about revolution as part of the Dublin Fringe 2017.
Roosting on Dublin’s docklands, this featherlight circus spectacle explores a place in collapse.
“Make Hibernia Great Again”: Chris McCormack reviews Ill-Advised Theatre Company’s post-truth satirical musical.
Memories aren’t to be trusted: Chris McCormack reviews a new work by Malaprop as part of the Dublin Fringe 2017.