Building community: Catherine Love writes on a quietly radical performance, part of a series of public interventions by Common Wealth.
Ingenious design: Lilith Wozniak reviews the stage adaptation of Joe Simpson’s memoir.
An unsatisfying haunting: Liz Roche’s site-specific dance piece summons the literary ghosts of Dublin’s Merrion Square
Chris McCormack reviews Xnthony’s musical memoir, as part of the Dublin Fringe 2018.
Messages from the other side: Tom Marshman’s solo show summons the spirits of men persecuted for being gay in 1950s Britain.
‘Be kind. Be wise’: Chris McCormack reviews a spoken word performance as part of the Dublin Fringe.
‘Smart comedy’: Chris McCormack reviews a play about the historic treatment of metal health conditions.
A group hug? Tracey Sinclair reviews a devised work by new North East company Circ Motif.
Nerve-shredding: Chris McCormack reviews a solo performance by Olwen Fouéré, as part of the Dublin Fringe.
From “Shock” to “Acceptance”: Chris McCormack reviews a Dublin Fringe show about the end of everything.
Lilith Wozniak reviews a new show about raising children, Russian folklore and how the theatre industry supports mothers.
Stories are forbidden, but artistry has flourished elsewhere: Chris McCormack reviews a ‘wonderful’ children’s show at the Dublin Fringe.
More to life than love: Peter Kirwan reviews the Nottingham Playhouse’s first musical in over a decade.
A frenzied, facetious production: Crystal Bennes reviews Opéra de Lyon’s performance of Rossini’s Cinderella.
A study in dominance: Chris McCormack reviews the stage adaptation of Edith Wharton’s short story.