Content with Hermia? LOL: Chris McCormack reviews a version of Shakespeare’s comedy ‘that revels in human folly’.
Friendship and doodling: Rosemary Waugh reviews Druid Theatre’s staging of Beckett at the Edinburgh International Festival.
Gravediggers: Chris McCormack reviews a play about gangland violence and childhood friendship.
‘Hauntingly beautiful’: Chris McCormack reviews Gluck’s opera as part of this year’s festival in Galway.
‘A painful confrontation with an unaccepting place’: Chris McCormack reviews Rachel O’Riordan’s production of a new play about returning to Ireland after 20 years of family exile.
Complex ideas and striking symbolism: Charlotte Jones makes a successful return to stage-writing with this nineteenth-century drama.
A company with really exciting ideas: Wilderbeast’s debut show is a mix of classy and clunky.
Substance over style: Sonya Kelly has penned three amusing and insightful short plays about home furnishings and their owners.
Guided by unbelievable forces: Cristín Kehoe’s new play interrogating Ireland lacks focus.
Heartbeats or voice recordings: Lilith Wozniak reviews Bristol’s Shakespeare at the Tobacco Factory at their new home in Bath.
A certain charm in their reliability… Tracey Sinclair reviews the latest show from the Classic Thriller Theatre Company.
RENAISSANCE! PLAYSUITS! Lilith Wozniak reviews a musical, double trouble performance by She Goat.
A wistful trip back: Chris McCormack reviews the second part of Roddy Doyle’s Barrytown Trilogy.
The Grey Zone disintegrates: Chris Collett reviews Javaad Alipoor’s interactive show on the internet as a space for extreme violence.
‘A vivid plea for understanding’: David Pollock reviews a promenade adaptation of Naoki Higashida’s book about the experience of autism.