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.
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.