The actor is one of the most intense and intelligent performers in Irish theatre; little surprise, then, that a conversation with him starts to sound like a masterclass on acting
A comedy double act – one an expert on all matters Harry Potter, the other not knowing his horcruxes from his Hufflepuffs – are riding their Quidditch broomsticks to Ireland
Five years ago, funding cuts sent director Annabelle Comyn spinning – but her path towards Noël Coward was an unlikely twist
The Shed, an intimate space at home to experimental theatre, seems like a venue designed to suit the times. At the heart of its success is Ben Power, a dramaturg, ‘shadowy figure’ and Shakespeare’s ‘remixer’
Sam Shepard is going back to the source with his new take on Oedipus. Like his hero, does he know what he’s looking for?
The German artist’s aesthetic probably lies most easily in choreography, albeit in drag
The actor, whose television portrayal of Agatha Christie’s most popular character comes to an end this month, is still saying farewell to the Belgian detective
A theatre production puts the audience up close to atrocities such as the killing fields of Cambodia, the Holocaust and Bloody Sunday to pose questions about happiness in a ‘horrible world’
South Africa’s intense society shows the best and worst of humanity, says Yael Farber. Can ‘Mies Julie’, her version of Strindberg’s class tragedy, escape apartheid?
She is the most successful French playwright of her generation and her work is performed around the world. Lara Marlowe talks to Yasmina Reza, author of ‘Art’ and ‘Carnage’, about writing, working with James Gandolfini, and a rumoured liaison with disgraced IMF chief Dominique Strauss-Kahn
She can hold an audience in the palm of her hand, or round up a crowd with a click of her well-manicured fingers – so how did Rory O’Neill go from being a small-town boy in Co Mayo to becoming Panti, the grande dame of Dublin’s gay scene
Choreographer Ingrid Nachstern is stepping out of the classroom and on to the stage
Performing Beckett’s ‘Not I’ involves being blindfolded, bound, and hovering on a platform in a pitch-black space. So why can’t Lisa Dwan leave it alone?
‘Dusk Ahead’ asks its dancers to step into the unknown – ‘they genuinely don’t know what is ahead’
The performer pushed all sorts of personal and public boundaries with his last Fringe show. Now he’s back with its antithesis, and he wants to throw one hell of a party