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
The Shark Is Broken review: Ian Shaw is uncannily like his father in this inventive, irreverent play about the making of Jaws
Crowd-pleasing tale of Spielberg movie mixes heartfelt details with top-notch film buffery and broad physical comedy
Dublin Dance Festival 2025: At Chora, generations of choreographers, dancers and producers witness an auspicious debut
Luail resists the temptation of a slick, easy-to-digest premiere, instead presenting three dances that celebrate the intangible
Candace Bushnell at the Ambassador: A fun, girly night out for Sex and the City fans
Choreographed performance from ultimate NYC character is entertaining but lacks proper fan Q&A
Jigsaw review: A play so up close we hear the voice in its character’s head
Theatre: Lee Coffey’s new drama has the pieces to become a whirling Dublin tale fuelled by thrills and suspense
Queen of the Meadows review: A compelling, exciting exploration of memory, loss, renewal and the supernatural
Dance: In this new work inspired by her grandmother’s beliefs, Robyn Byrne teams up with her fellow performer Susanne Engbo Andersen
An Oak Tree at the Young Vic review: Pregnant Jessie Buckley brings extra poignancy to this theatrical wonder
Tim Crouch feeds his delighted guest star her lines in this now two-decade-old revelation of theatre-making
The Lion, the Witch and the Wardrobe review: Narnia adaptation is a thrilling testament to the wonder of live theatre
Michael Fentiman’s touring production is deeply thoughtful in its approach to staging CS Lewis’s classic children’s book
Kevin Hart at 3Arena review: Our phones are sealed in pouches before the show starts. It has a surprising effect
The comedian’s Acting My Age show is ‘90 per cent good but 10 per cent not so good – but you have no proof’
Myra’s Story review: Belching and scratching, Myra admirably refuses to apologise for her descent into alcoholism and homelessness
Two doors up from the Gaiety Theatre a homeless man is stretched out on the footpath, invisible to theatregoers keen to get to their seats before the curtain call. Inside the ornate Victorian theatre Myra Hennessy holds a similarly supine position on the stage, her head resting on a bag stuffed full of her possessions. “Look me in the eye,” she says as she harangues an imaginary pedestrian who refuses to engage with her request for spare change
From a Low and Quiet Sea review: Excellent performances, but this Donal Ryan adaptation has taken a big risk
The novelist has an ability to connect Ireland’s historical roots with its modern realities, but the multiple monologues of his story can struggle on a bare stage
The Brightening Air at the Old Vic review: Conor McPherson’s outstanding new play turns convention on its head
Theatre: Chris O’Dowd, Brian Gleeson, Seán McGinley and Derbhle Crotty star in the Irish writer’s new drama
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