Paul Keogan

The Return of Ulysses review: The musical equivalent of the world’s best chef using just a clutch of the finest ingredients

Gavan Ring warms up for BBC Proms debut with hometown concert; the first Irish production of Monteverdi’s ‘Il ritorno d’Ulisse’ takes place in Kilkenny

Incantata review: the staging of Paul Muldoon’s elegy for a lover and a fellow artist is grief as an artform

Festival director Eugene Downes’ term to come to an end after five years at the helm

Marina Carr’s bleak topical tragedy is like the fresh jolt of a recurring nightmare

Director Patrick Mason ’s light touch creates the happy illusion of a non-interventionist approach

Irish Times Irish Theatre Awards: Mark Rothko drama ‘Red’ is the big winner

Selina Cartmell’s dark version of the fairytale has just opened at the Gate Theatre. Here’s how the story of dance and destruction took shape

Postcards From The Ledge review: OMG – are those like actual feelings Ross O'Carroll-Kelly is having?

John Fitzsimons wins bronze at European Under-20 Championships in Grosseto, Italy

Caryl Churchill’s short, brutal play is brilliantly realised

Ludovic Ondiviela’s hip interpretation never dips below the surface of this classic

Champions Smyth and McKillop lead the team aiming to secure eight medals

Cork’s Midsummer Festival’s centrepiece is a triumph

The Abbey’s latest production of Sean O’Casey’s Easter Rising drama brings his characters into the light of the present. During the centenary of the event, has it made a familiar play any more illuminating?

Belfast show’s spectacular opening offers a tantalising indication of things to come

Belfast’s Peace Walls, like shibboleths, are designed to keep people separated. But Stacey Gregg’s restless new play constructs them as an inhibiting prison

A Liverpudlian mother is pushed to the edge of the world by a tragedy

Feeney, a singular musical talent, is barely present in this new show that is cruelly inattentive to its audience

In Enda Walsh’s turbo-charged tragicomedy, an Irish family are horribly condemned to live out their lives in endless performances. Any similarity to the Gleeson family is entirely coincidental

Utility reports to Data Protection Commissioner after information sent to wrong individuals

It’s not unusual to find our best theatrical talent working in children’s theatre, and given the calibre of the work there’s little wonder why

Nevermind Mark O’Rowe’s return to dialogue, does his family tragedy for the Abbey signal a new commitment to realism? Or is anything here as it seems?

Written fitfully during the first World War and finally presented to an utterly changed world, Shaw’s experimental play remains tangled and complex. Can the Abbey make sense of it?

What makes the lead performances so compelling in this version of ‘Streetcar’ is that each actor subtly plays their character against type