Gina Moxley

The Abbey Theatre’s directors Graham McLaren and Neil Murray on their second programme, forging new collaborations and looking for new forms of theatre

The artist asks probing questions about everything from the Burren interpretive centre to the Belfast Titanic Experience

Twenty years later, Cillian Murphy, Eileen Walsh, Enda Walsh and Pat Kiernan talk about Corcadorca and the hit play that changed everything

In Embodied, six provocative dances offer an unflinching exploration of the lot of women in Ireland past and present

Lynch’s Venice Biennale exhibition, now on tour, is quite an achievement

In 2013 Nora Hickey M’Sichili got her dream job of running the Centre Culturel Irlandais in the French capital. Have recent events changed the tone?

Evelyn Conlon: ‘Art allows us – dares us – to let the imagination take the reins, wander to the edge of time or wherever suggests an answer ... to lift us out of the political maelstrom’

This week’s question is in preperation for a special food episode next week

Waking the Feminists meeting hears call for equal advancement of women artists

Venice’s first African-born curator, Okwui Enwezor, is on a mission to clean up the spiritual home of the art world and remind us of its social and political responsibilities

The Abbey goes Pan Pan for a subversive, tender and innovative production of Shakespeare’s warped comedy, which has been relocated to a nursing home

Shakespeare isn’t getting any younger, and here his Midsummer action finds itself wandering the halls of a nursing home

Pan Pan Theatre makes Chekhov’s play the centrepiece of its crammed and elusive aviary. Are they able to wing it?

When Sonya Kelly fell for an Aussie stage manager, the immigration bureau required documentary evidence. Wry, tender and imaginative, here is a stirring dossier of an accelerated romance

Letters from the past provide hope for the future

We may never be able to interpret an unfathomable tragedy, but Lippy has extraordinary things to say about it

If a suicide pact in Leixlip was a pointless tragedy, how can an experimental theatre maker and a traditional playwright make sense of it?

How many ways are there to tell a fairy tale?