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.
Abandonment and despair: Chris McCormack reviews a new adaptation of Mary Shelley’s gothic masterpiece.
‘Deeply, profoundly ridiculous, but an enjoyable night at the theatre all the same’: Crystal Bennes reviews an attempted update of John Gay’s ballad opera.
Little but hard choices: Tracey Sinclair reviews a stage adaptation of James Mitchell’s TV series.
Chris McCormack reviews Martin McDonagh’s bleak comedy about ‘pioneering gravediggers, alcoholic priests and corrupt police’.
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.