Unafraid and magnificently surreal: Elevator Repair Service reimagines Albee’s classic, as part of Dublin Theatre Festival.
Uncomfortably familiar: Emily Holyoake writes on a revival of Mike Leigh’s play, alongside Safiyya Ingar’s one-woman response.
Phallocentricity gets a beating in Gina Moxley’s interrogation of psychotherapy, and a betrayed female patient.
Chris McCormack reviews Annie Ryan’s topical adaptation of Arthur Miller’s American-West novella The Misfits
The foibles of the ruling classes: Lilith Wozniak reviews a satire based on Queen Victoria and Prince Albert.
Let the doors be locked: Rosemary Waugh reviews Yaël Farber’s Hamlet, starring Ruth Negga.
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.