Ghosts: Emotional authenticity is the primary driver of this understated production
Mark O’Rowe’s scrupulously naturalistic dialogue balances plot’s tendency towards melodrama
Henrik Ibsen
A meal for The Dead: James Joyce’s enthusiastic fans in Oslo
Irish writer’s legacy is secure in the country of one of his own greatest influences
Dublin Theatre Festival: Bewildering Synge, futuristic Ibsen
Three reviews from the opening weekend of the Dublin Theatre Festival
Transgression used to be an artistic tactic. Now it belongs to the far right
Fintan O’Toole: Have shock tactics had their day?
How an Irish theatre made itself at home in Dubai
The Irish community and locals are getting acquainted through an oasis of drama
Geoffrey Rush: ‘I used to be the Fool; now I’m Lear’
20 years after ‘Shine’, the self-effacing Aussie is the youngest actor to have won the elite acting treble of an Oscar, Emmy and Tony
Culture Shock: Why Hedda Gabler ain’t messing with no broke Norwegians
Mark O’Rowe, who has written a new version of Ibsen’s play, may be an unlikely feminist
A Master Builder review: Scandi angst transplanted | JDiff 2015
The grinding gears of the drama fairly shake the spirit
Anthony Burgess on James Joyce: the lost introduction
Written in 1986 as the introduction to a Dolmen Press edition of ‘Dubliners’ illustrated by Louis le Brocquy, but never used, this brilliant essay, recently found among the papers of the author, who died in 1993, appears here for the first time
Long distance warning
Ibsen’s whistle blower brings us worrying news from Norway via Arthur Miller’s America
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