Rébecca Chaillon: ‘Black women in theatre, I don’t see them. Maybe they are cleaning the toilets’
One of French theatre’s greatest risk-takers is bringing her play Whitewashing to Dublin Theatre Festival 2025
Queens of Comedy: Feral Wellness, at Dublin Fringe: Coping mechanisms reconfigured as stand-up jokes
Dublin Fringe Festival 2025 review: Sophia Wren and Aideen McQueen’s lively comedy aims to remove the shame of chaotic behaviour
Am I the A**hole?, at Dublin Fringe, is a courtroom spoof more interested in judgment than justice
Dublin Fringe Festival 2025: Dafe Pessu Orugbo and Lisa Nally’s comedy allows the audience to watch as normal or join the jury
The Revenger’s Tragedy, at Dublin Fringe, puts a drill music spin on a 17th-century thriller
Dublin Fringe Festival 2025: Debauched, violently graphic play can feel surprisingly breezy in Kevin Keogh’s adaptation
Diary of a Dublin Drag Diva, at Dublin Fringe: Is Davina Devine unguarded at last?
Dublin Fringe Festival 2025: Unlike her peers, Davina has revealed little about who she is out of drag
Pea Dinneen: Raising Her Voice, at Dublin Fringe, is a fantastically stirring cabaret about a trans life forced on hold
Dublin Fringe Festival 2025: Dinneen’s play – much like her performance – conceals revelations where you don’t expect
FeliSpeaks tells their coming of age story in unexpected ways in Octopus Children, at Dublin Fringe
Dublin Fringe Festival 2025: Felicia Olusanya’s new work for Thisispopbaby is an incandescent verse play
Wet Mess at the Fringe: Determinedly surreal, defiantly unconventional drag
Dublin Fringe Festival 2025: The London-based gender punk is finding new ways to tell stories
In Extremis review: Intriguing footnote from Oscar Wilde’s final days of freedom
Neil Bartlett’s play imagines Wilde’s meeting, just before his trial, with the society palmist Mrs Robinson
A Misanthrope: knockout satire of a horny and insincere Silicon Docks
Theatre: Molière comedy reimagined in a Dublin of agonised Millennial love
Riders to the Sea and Macbeth: A magnificent horror unbalancing nature
Theatre: Druid’s Galway International Arts Festival double bill
Wreckquiem review: Pat Shortt is well capable of an audience-pleasing expletive in an adroit performance
Mike Finn’s ambling play, set in a Limerick record shop, makes the case for art as the wrecking ball looms
The Black Wolfe Tone review: A heavy-on-the-pedal psychodrama
Kwaku Fortune, in his stage-writing debut, plays a frustrated young man admitted to a psychiatric institution
On the fifth anniversary of George Floyd’s death, why is Irish theatre still so white?
Despite calls for cultural change, black representation on the Irish stage is still years behind, but there are signs of improvement
Lovesong review: An up-and-down marriage that goes to the very end
Theatre: The excellently paired Zara Devlin and Naoise Dunbar star in the Gate production of Abi Morgan’s absorbing play