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’.
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.
Substance over style: Sonya Kelly has penned three amusing and insightful short plays about home furnishings and their owners.
Guided by unbelievable forces: CristÃn Kehoe’s new play interrogating Ireland lacks focus.
A wistful trip back: Chris McCormack reviews the second part of Roddy Doyle’s Barrytown Trilogy.
Love and playwriting: Chris McCormack reviews Brian Friel’s two-part play.
Boom and bust: Chris McCormack reviews Veronica Dyas’ new play inspired by Bertolt Brechtâ€™sÂ The Mother.
An expression of thanks: choreographer Oona Doherty crafts a religious reflection on her home town.
Rivetingly dark: Junk Ensemble’s dance-theatre reimagining of Vladimir Nabokov’s Lolita is thrilling and revelatory.
“What is essential is invisible”: Morgan Creative’s adaptation of Antoine de Saint-ExupÃ©ry’s novella is handsome and imaginative.
A drama as deluded as its characters: Robert Higgins’ debut play goes on an unconvincing journey.
Pain felt through generations: Marina Carr’s play explores psychological trauma and family.