Inside a Covid-19 community assessment hub
‘We will probably get more cases as restrictions lift’, clinical co-ordinator says
Irish theatre in 2019: A dramatic year that left the future uncertain
Theatre in Ireland this year was bookended by two crises, a state of play mirrored by the work
The Playboy of the Western World review: A freshly unsettling journey
Dublin Theatre Festival: It seems like a game that has spun out of control, where murder can be applauded if it is told well enough
Oonagh Murphy: On My Culture Radar
The director on Aisling Bea, the renewed relevance of Cabaret, and the joys of a Dyson fan
Dublin Theatre Festival gets its history on
Whether it’s looking back or casting forward, this year’s event is rooted firmly in the now
The week’s best plays: Asking for It and Playboy of the Western World
Louis O’Neill’s Asking for It is revived for the Gaiety, while Playboy crosses the Border
The week’s best plays: Playboy of the Western World and Faultline
Dublin Theatre Festival productions examine Irish theatre and history from new angles
After a two-year process, Fishamble selects its 'big, ambitious' Play for Ireland
The Alternative wins Fishamble’s project, which seeks to buck trend for shorter productions
This week’s theatre highlights: Sure Look It, Fuck It and The Children
Clare Dunne’s exuberant debut, and a challenging moral puzzle at the Gate
The Children review: Brightly disarming, deeply unsettling
Seán McGinley, Marie Mullen and Ger Ryan dazzle in Lucy Kirkwood’s play
Seán McGinley: ‘I just wonder why more actors don’t marry each other’
‘The Children’ brings Marie Mullen and her husband on stage together for first time in 27 years
Drip Feed review: A giant bender, and many laughs, expose a darker reality
Dublin Fringe Festival: Karen Cogan is precise and engaging as Brenda, ‘youngish, female and queer’ in 1990s Cork
An unsentimental look at a Dublin that will not accommodate its own
Shelter review: History repeats itself in Cristin Kehoe’s admirably understated drama set in modern Dublin
Mending the Gate: ‘Michael Colgan’s style was very different to mine’
The Gate Theatre turned 90 this year. Nobody noticed. Selina Cartmell on a challenging first year in charge
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