As his parade of double lives spills out of the closet, Oscar Wilde peers down on a production that is almost entirely at his service

A dutiful, illustrative staging of Arthur Miller’s 1956 drama rather than a freshly invigorating one

The moors of Emily Brontë’s novel are raging and unruly, peaceful and polite. Is the new Gate adapation torn between two worlds?

A prequel to his masterful Bailegangaire, Brigit fleshes out a complex family history, but Tom Murphy’s new play is a more vivid portrait of the artist

Priest recalls an ‘extraordinary’ person

Ibsen’s whistle blower brings us worrying news from Norway via Arthur Miller’s America

Everyone has a double identity in Bernard Shaw’s play. So does the Gate’s new production