Usual routines made uncanny: Chris McCormack reviews Junk Ensemble’s new work exploring violence in the military.
A brave new world: Chris McCormack starts off our coverage of the Dublin Fringe with a review of Simon Doyle’s radical rewriting of The Tempest.
An anxiety dream for the nation: Chris McCormack reviews Caroline Byrne’s new production of Teresa Deevy’s unsettling drama.
The escape plan: Chris McCormack reviews David Grieg’s play about life on a remote island.
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.
A magical flourish: Chris McCormack reviews Collapsing Horse’s production of a surreal Chekhovian comedy.
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.
Searching in the dark: Chris McCormack reviews an autobiographical play about a bid to discover the author’s birth parents.
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.
Giving the unbelievable a fair hearing: Chris McCormack reviews Philip Conaughton’s new dance-opera about UFO sightings.
Bacchanalia and broccoli: Chris McCormack reviews Chris Haring and Michel Blazy’s collaboration, performed as part of the Dublin Dance Festival.
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.