Dancer and choreographer Emma O’Kane traces a graceful line between dancer, jockey and horse and between own dance career and that of her racing journalist grandfather
Meg Stuart’s questions some classical music myths in her new show, and makes something uplifting amid the sturm und drang
Druid carve four Shakespeare plays into an epic of regal succession, and drag the kings down with the people where they belong
Are all the characters in Hilary Fannin’s new play toxically self-involved or has our national plummet from prosperity left everybody isolated?
Sean O’Casey’s classic play is given a fresh approach, but is that enough to shake off its shadow?
Martin Lynch is a natural storyteller and here he merges a modern story with a dizzying series of period extracts that struggle to make their voices heard
The absorbing mystery of Ross Dungan’s play is: why do we trust authority, in our families or in our stories, and what happens when it collapses?
A programme with four excerpts feels more recital-like than revolutionary
This proud anniversary production of a play last staged just four years ago feels more familiar than heritage drama; more rote than the Mass
A few revivalist tweaks can’t hide the age of the Moscow State’s Opera’s tired Butterfly
Abbey production of Ibsen’s drama feels stilted
In spite of a fast-moving narrative, the action sometimes feels laboured
Stephen Brennan steals all the scenes in this study of a showman
Feeney, a singular musical talent, is barely present in this new show that is cruelly inattentive to its audience
Romeo’s love is a little more ice than fire in a production whose heart lies in its decadent set pieces
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