Dancing feet: Nancy Harris’ Hans Christian Andersen adaptation brims with “barely suppressed sorrow and heartbreak”.
Sweet and sour: Jessica Leen’s new play sounds great, but regresses into petty drama.
D’Oh! The Simpsons is all that’s survived in Anne Washburn’s bold “post-electric” play.
Cheerfully imaginative: Chris McCormack reviews the Abbey Theatre’s family show about a musical prodigy.
Christmas is the time for revenge: Chris McCormack reviews Philip St. John’s new supernatural drama.
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.