Wayne Jordan: ‘I didn’t feel like an artist anymore, but an interior designer’
The theatre director’s new show, Leaving, is a powerful departure for the returned emigre
The Haircut! review: King Labhraidh Loingseach gets a makeover
Dublin Theatre Festival: This perfectly paced production for ages eight and up retells the Irish folk tale for a new audience
Sole survivors get heeled: The best theatre of the week
Ask Too Much of Me addresses faith while Kinky Boots gives drag queens a platform
Mel Mercier: ‘When I work in theatre, I often think that it’s like painting’
Composer’s new album ‘Testament’ aims to meld disparate musical works
The Wizard of Oz: Joyful production blazes with power of original
Review: Engaging principal performers takes ownership of material at Cork Opera House
NI Opera's ‘Radamisto’ by Handel: great music, shame about the plot
Russian composers shine at NCH; Tenebrae revisit Orthodox choral music
Gate Theatre needs to take risks – and so does its audience
Culture Shock: A report finds the Gate’s audience has it in a chokehold – but rather than pander to its audience’s supposed tastes, it needs to cultivate an appetite for adventure
Artistic director Michael Colgan exits stage Gate after 33 years
Colgan has had towering successes but he leaves as subsidies and attendance dwindle
Shakespeare and me: Irish writers on the Bard's best bits
Some admirers celebrate the playwright’s work on the 400th anniversary of his death
Culture Shock: ‘The Plough and the Stars’ is back. Must be time for a riot, so
Seán O’Casey’s play and its staging have always been cultural and political lightning rods
DTF Review | Oedipus: A blindingly obvious fate, in a crystal clear production
The riddle in Wayne Jordan’s limpid new version of the Greek tragedy is how anyone stays blind to the truth
Heavyweights and new voices brand Dublin Theatre Festival
The festival has shunned an obvious theme in favour of reaching a wider audience
Review: The Shadow of a Gunman
Sean O’Casey’s classic play is given a fresh approach, but is that enough to shake off its shadow?
Romeo and Juliet . . . and Peter: is there still such a thing as a small part?
As an actor you may have only a few lines – or none at all – but you can still make the most of a role, as Dee Burke, who’s appearing in ‘Hedda Gabler’ at the Abbey, and John Doran, who features in Shakespeare’s tragedy at the Gate, are proving
Theatre review: Romeo and Juliet
Romeo’s love is a little more ice than fire in a production whose heart lies in its decadent set pieces
Can The Lir become one of best drama academies in the world?
The national academy produced its first trained actors this year; can it become one of the best drama academies in the world?
The Irish take on Shakespeare
From the campus to the Peacock, all the world’s a stage for lecture series on the Bard
Casual sex changes in ‘Twelfth Night’
Subversive gender play in Shakespeare’s comedy enabled it to explore prohibited desires, and the Abbey’s update keeps things ‘a bit dangerous’
Review: Twelfth Night
A daringly modern telling of Shakespeare’s comedy of desire, disguise and deception makes the play seem more true to itself
Mollser in the middle: ‘Is there anybody goin’ with a titther o’ sense?’
What happens when an Abbey production for children puts Mollser, the child in O’Casey’s ‘The Plough and the Stars’, centre stage?
The right direction: unravelling the roles in the theatre awards
When we congratulate directors on a job well done, do we know what we’re congratulating them for?
The Threepenny Opera
Director Wayne Jordan restores the satirical and human bite to an opera of opulence and economy
Brecht effect: bourgeois bashing with catchy tunes
‘The Threepenny Opera’ began in disaster and grew into a triumph – a new Irish production hopes to burnish its agitprop credentials
Seven-day schedule: Make the most of Dublin Theatre Festival
Seven shows, seven restaurants, and seven options; here’s a week’s worth of suggestions and great nights out for this year’s festival
Dublin Theatre Festival to highlight ‘Irish artists in the world’
Line-up includes new plays by Frank McGuinness and Eugene O’Neill, and a fresh translation of The Threepenny Opera
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