The songs in this adaptation are curiously conventional for an unconventional piece
Caryl Churchill’s short, brutal play is brilliantly realised
Committed cast struggles with ponderous phrases and some awkward arrangements
Graham Linehan’s staging of the Ealing comedy features an all-female cast for the first time, but the quality of the performances means tokenism is not an issue
Ross Gaynor’s tough monologue is set in the aftermath of a terrorist attack
Dylan has never tried to please anyone but himself, and at 75 he powers through a two-hour set, mischievous, buoyant and brilliant
If even the Dublin Luas lines will eventually connect, then why can’t two people come together despite their political differences, in Eva O’Connor’s new play for Fishamble?
It’s hard to know what to make of the sexual politics of John B Keane’s play
Ludovic Ondiviela’s hip interpretation never dips below the surface of this classic
Two volunteers on a drugs trial begin to have some strange attractions in Lucy Prebble’s love-sceptical play
Derbhle Crotty and Denis Conway reach deep for this portrait of middle-aged despair
Harold Pinter’s vicious play is all about the oppressors. How can cruelty and civility sit so comfortably together?
The women of Greek myth are rescued from passivity and victimhood in Joanna Crawley’s contemporary piece of dance-theatre
Corn Exchange’s marvellous, witty creation brings house down at the Abbey
In two short plays at the Beckett Friel Pinter Festival, one brings us up close and personal with a great actor, while another finds romance in creativity
Falling in love is the hardest thing, in this less-is-more production of Brian Friel’s play
Jean Butler returns with choreography that displays an increasingly rich level of articulation and a broad palette of movement
Dealing with nothing smaller than human history, Malaprop’s stimulating new show might have taken on more than any one metaphor can properly smack down. Unless wrestling is the answer . . .
Walsh’s intense show takes place in Old Cork Prison
The appeal of Brel’s songs has always been their urgency, but despite commanding performances, the Gate’s new staging feels like a slab of nostalgia for the good old days as its theatre slides into ruins
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