Mark O’Rowe: ‘The plays were violent and sexual. But I can’t go back there. Everything has to be new to me’
Galway International Arts Festival 2024: The Tallaght playwright on new play Reunion, his changing preoccupations, and the stress of TV work
Landmark Productions
Theatre for One: This Ireland review – Brilliant, totally immersive one-to-one plays
Cork Midsummer Festival 2024: The brilliance of these 12 five-minute plays lies in their containment
Audrey or Sorrow review: Marina Carr daringly wraps Gothic comedy around a harrowing core
Theatre: Aisling O’Sullivan, Marie Mullen, Anna Healy, Nick Dunning, Zara Devlin and Patrick Martins star in a bravura production that shouldn’t work but mostly does
‘The blackboard is like looking at charts in a war room’: Behind the scenes at the Abbey to watch Marina Carr’s new play take shape
Turning a script into a finished show is hugely complex. We spend a day at the National Theatre to see Audrey or Sorrow come together
Krapp’s Last Tape review: Stephen Rea invites us to applaud the tape recorder – but the triumph is his
The actor had the forethought to record Krapp’s early tapes 12 years ago. What a pleasure to see, and hear, the result in the intimacy of Project Arts Centre
Krapp’s Last Tape: The acting greats who have taken on Samuel Beckett’s one-man play
Stephen Rea is about to join an illustrious line-up that includes John Hurt, Michael Gambon and Patrick Magee
Landmark’s Anne Clarke: ‘Every producer, if they’re honest, is a control freak’
From giving modern classics their first Irish productions to nurturing new work from key Irish names, Landmark has had an outsize impact over the past 20 years
Happy Days: Siobhán McSweeney brings all her intuition to Beckett’s work of tragicomic genius
Theatre: As Winnie, the actor makes the location and circumstance of Happy Days seem normal, although sorrow keeps breaking in
Old Ghosts: A Joycean chamber opera in an evocative setting
Review: Evangelia Rigaki and Marina Carr’s piece features compelling performances but sometimes struggles with the acoustic challenges of its venue
Enda Walsh and Donnacha Dennehy come full circle with final offering in operatic trilogy
Dublin Fringe Festival 2021: The playwright and composer join forces once more on ‘suburban horror’, The First Child
Rory Gleeson’s Blood in the Dirt: The curse of a family bloodline
Is the novelist and screenwriter turned playwright fated to follow in his family’s footsteps?
Building Enda Walsh’s world: ‘I like the danger of having a blank piece of paper’
Jamie Vartan’s set designs transport audiences – and that’s before the crows move in
‘Asking For It’ stage review: An unsettling anatomy of rape culture
This gruelling adaptation of Louise O’Neill’s novel is alarming for good reason
![Arlington [a love story] review: Another room, another trap](https://www.irishtimes.com/resizer/v2/23PIDD6IFQATEQUBYFLZDEOSWU.jpg?smart=true&auth=78576b18ebdb386313205da70fccee1f448533b519fd5254e173390ad25a3dfd&width=800&height=450)
Arlington [a love story] review: Another room, another trap
Enda Walsh’s despairing and dystopian work is a play woven from grief
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