Nos review: Luail build in intensity to become more than a collection of individual dancers
The company’s remounting of works by Akram Khan, Oona Doherty and Liz Roche shows the value of developing a repertory
National Opera House
In Wexford
The Wexford opera train returned for one night only. At €479 a ticket here’s what you got
Champagne, plentiful wine, rich food and the gentle rhythm of the restored carriages on the way to see The Gambler: it’s all dangerously soporific
Ben Barnes: ‘I would extend the basic income scheme to all professionally trained working artists’
Theatre and opera director on his new book, Side Stage: Theatre Writing 1984-2025; his wariness of celebrity actors; and his admiration for John Cleese
‘The driver talked all the time for the three-hour journey. I understood maybe 20%’
Rosetta Cucchi, Wexford Festival Opera’s artistic director, on discovering Irish hospitality, revisiting past works for the event’s 75th anniversary and letting the public choose what to perform
Tuesdays with Morrie author Mitch Albom: ‘I make a conscious choice to be hopeful. That’s not always in vogue’
With a new Irish production of the stage show based on the book, Albom’s autobiographical story is still finding new audiences
Delius’s The Magic Fountain, at Wexford, is unlikely to appeal to many beyond the already converted
Wexford Festival Opera 2025: Singers cope valiantly with composer’s awkward, meandering vocal lines
Handel’s fascinating, neglected Deidamia, at Wexford, features virtuoso performances
Wexford Festival Opera 2025: Bruno de Sá reaches heights few male singers can aspire to
Le Trouvère opera is strongly cast but struggles to convey the tensions of Verdi’s story
Wexford Festival Opera 2025: Ben Barnes directs the French-language version of Il Trovatore
Ukrainian embassy warns of ‘impostor’ ballet company due to tour Ireland
Ukrainian National Ballet of Odessa has no right to the name, embassy claims
The Selenites review: A persuasive musical focus on magic
Wexford Festival Opera: Conor Mitchell’s short piece feels like a scene being set for something larger
Cinderella review: Not quite happy ever after
Wexford Festival Opera: Alma Deutscher’s first full-length opera is a fairytale that lacks menace or nuance
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Common Ground
How does a post-Brexit world shape the identity and relationship of these islands
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