The House Must Win review: Mick Flannery’s gritty musical feels small for the voices within it
Julie Kelleher directs Niall McNamee and Ferdia Walsh-Peelo in Flannery’s adaptation of his debut album, about two brothers who arrive at a painful separation
Do You Come from Gomorrah? review: Five stars for Frank McGuinness’s startlingly revelatory play
Ryan Donaldson gives an immensely poised performance in this monologue play about gay self-loathing, sexual abuse and sectarian bigotry
Cholera, ‘night soil’ and the age of stink: Colin Murphy’s Miasma is a tightly structured historical drama
Colin Murphy’s densely researched play, directed by Samantha Cade, centres on rival approaches to tackling disease in 19th-century London
The Ballad of Johnny & June review: Jukebox musical with excellent cast is a storytelling disappointment
Theatre: A musical misstep is among a series of troubling aspects about The Ballad of Johnny & June
Tuesdays with Morrie review: An enthralling production of Mitch Albom’s enduring memoir
Theatre: David Hayman and Fionn Foley play the dying sociology professor and his former student in this warm, funny, sad and relatable story
Trojans review: Barrier between audience and performer disappears in Luail’s poignant, intimate dance
The audience becomes part of the story in Philip Connaughton’s retelling of the Aeneid, whose themes are superbly brought to life by the company’s dancers
Hotel Eden review: Communists, cats and intrigue in interwar Germany
Theatre: Emilie Hetland’s historical play delves into the relationships between Rosa Luxemburg, Leo Jogiches and Mathilde Jacob
Rusalka review: INO’s updating of Dvorak combines an excellent cast with a thought-provoking staging
Irish National Opera’s coproduction, directed by Netia Jones, features the well-matched central pairing of Jennifer Davis and Ryan Capozzo
Aisling Bea’s Older Than Jesus review: The comedian radiates charm and joy in upbeat show
Bea’s latest comedy show deals with the ins and outs of Catholicism without once reverting to despair
Ubu Roi review: Trashy masterpiece turns international warfare into head-spinning slapstick
Theatre: Fantastic chaos becomes remarkably disorientating in Blue Raincoat’s outstanding production
The Plough and the Stars review: Abbey’s centenary staging features fine performances but doesn’t always gel
Tom Creed directs a cast led by Eimhin Fitzgerald Doherty, Kate Gilmore, Michael Glenn Murphy, Thommas Kane Byrne and Mary Murray
Blood Brothers at Bord Gáis Energy Theatre: Well-oiled show even if some elements lose their charm
Theatre: Touring production of Willy Russell’s musical manages to make its climax shocking
Animal Farm review: Orwell mapped on to Belfast in an intriguing anatomy of oppression
Theatre: Well-considered physical performances as concrete cell becomes allegorical farmland
Fair Deal review: Aislín McGuckin holds nothing back as a pantomime monster for the ages
Una McKevitt’s play turns into a riotous black farce. It’s a tonal shift that pays off
The Monk review: Gerry Hutch’s prologue is not the oddest aspect of this one-man show
Theatre: Lights pick out the real Hutch in show that approaches truth from oblique angles
In The Crucible at the Gaiety, Andrew McCarthy gives a fine performance, but this Miller should be more ambitious
Andrew Flynn’s conventional production of the Arthur Miller play ignores contemporary questions raised by MeToo and cancel culture
To Kill a Mockingbird at Bord Gáis Energy Theatre: There are gasps at this play’s most shocking moment
Aaron Sorkin takes Harper Lee’s classic book to create a play that presents a far more morally complex version of American liberalism
Infinity review: Five stars for this Cork Arts Theatre staging of Hannah Moscovitch’s funny, obliquely mischievous play
Julie Kelleher directs Timmy Creed, Martha Dunlea and Bláithín Mac Gabhann in the first of Cork Arts Theatre’s Re:Directing productions
The Cunning Little Vixen review: INO turns challenge into advantage with this energetic, inventive, well-performed Janacek opera
Irish National Opera’s touring production, featuring Amber Norelai and Benjamin Russell, maximises smaller performance spaces
Eureka Day at the Gate: The privileged few tear each other part in a satire of liberal confusion
Jonathan Spector’s play, making its Irish debut, features the equivalent of Chekhov’s gun for the era of diversity and inclusion
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