Crying for help: Mark O’Rowe’s new drama asks disturbing questions about loneliness.
This feels like progress: John B. Keane’s tragedy is injected with new meaning by Garry Hynes.
Chris McCormack reviews John O’Donovan’s play that brings “the heartbroken gay men of rural Ireland to the stage”.
A propelling thriller with a clear villain: Chris McCormack reviews an interactive play where the audience get to decide what’s right.
You need a rest: Chris McCormack reviews a new play about Hanna Greally, a woman wrongly held in a psychiatric institution for 18 years.
The Wild Wild West: Dermot Bolger’s one-man play explores the life of a beloved Dublin eccentric.
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.