The Irish Times 22nd Irish Theatre Awards: Villainy triumphs in tales for our times
Peter Crawley’s analysis: It was a big year for villainy as Richard III took top honours
The Irish Times Irish Theatre Awards: And the 2019 winners are . . .
Cillian Murphy and Sarah Morris win main acting awards
The Irish Times Irish Theatre Awards: all this year’s nominees
After seeing more than 130 shows, the judges have made 60 nominations in 15 categories
Abbey Theatre uproar: 300 actors and directors complain to Minister
National theatre’s new policy sees pay ‘fall 25%’ and overall employment ‘dry up’
Furniture review: wickedly insightful comedy from Sonya Kelly
The performers in Kelly’s new comedy about people and things, say their lines with wit and only occasionally bump into the furniture
The statement of over 70 women supporting those who spoke out about Michael Colgan
Actors, writers, directors, producers, designers and stage managers sign statement supporting others who ended silence about abuse of power
Melt review: A play that goes to the end of the world
There’s no other play quite like Rough Magic’s Melt right now
Review of ‘Helen and I’: A gnarled family tree
McHugh has a skilled hand for creating mood, sly dialogue and psychological excavation, but seems less concerned with the mechanics of plot
Othello: The green-ey’d monster never quite lets loose
The staging of this Abbey production is adventurous, but the production as a whole errs on the side of the traditional
Review | Chekhov’s First Play: ‘Platonov is the black hole at the heart of this brilliant endeavour’
Bush Moukarzel and Ben Kidd slowly strip away the trappings of form and character from Chekhov’s first work, and take a wrecking ball of theatrical convention
Review: Wuthering Heights
The moors of Emily Brontë’s novel are raging and unruly, peaceful and polite. Is the new Gate adapation torn between two worlds?
Review: The Vortex
Noël Coward’s breakthrough play depicts a downward spiral, but Annabelle Comyn’s brave production feels like progress
A subversive comic drama and an earnest comment box
Everyone has a double identity in Bernard Shaw’s play. So does the Gate’s new production
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