Stage Reviews

Caligula, at Dublin Theatre Festival, resonates as a meditation on tyranny and resistance

Dublin Theatre Festival 2025 review: This Ukrainian take on Camus’s play is a compelling political statement rather than convincing drama

By Ruby Eastwood

My Right Foot, at Dublin Theatre Festival, is a masterclass in humour, honesty and resilience

Dublin Theatre Festival 2025: Michael Patrick is stunning as he chronicles his motor neuron disease

By Arpita Chowdhury

Dublin Jack, at Dublin Theatre Festival, looks behind sexual scandal to expose hypocrisy

Dublin Theatre Festival 2025: Conor Mitchell and Belfast Ensemble dramatise the life of John Saul

By Michael Seaver

Be Careful, at Dublin Theatre Festival, is unflinching, sharp and in your face

Dublin Theatre Festival 2025: Mallika Taneja’s play is a biting satire on a mindset that situates family and societal honour in women

By Arpita Chowdhury

Bán, at Dublin Theatre Festival, is a brave, brilliantly acted ensemble piece

Dublin Theatre Festival 2025: The gifted Carys D Coburn reworks The House of Bernarda Alba in grim 1980s Ireland

By Donald Clarke

The Maker at Dublin Theatre Festival: A family show infused with charm and curiosity

Dublin Theatre Festival 2025 review: The Maker’s imagination and immediacy will appeal to very young viewers, its philosophical riddles to older children

By Michael Seaver

Leaves, at Dublin Theatre Festival, reflects on care, growth, death and intelligence of nature

Dublin Theatre Festival 2025 review: production is more like a meditation on tender ecosystem of connection than an adaptation

By Michael Seaver

Deaf Republic, at Dublin Theatre Festival, is daring, intricate and, above all, beautiful

Dublin Theatre Festival 2025 review: Dead Centre turn Ilya Kaminsky’s poetry into complex, layered, hallucinatory drama

By Ruby Eastwood

In Her Father’s Voice, at Dublin Theatre Festival, emotions run high and understanding is in short supply

Dublin Theatre Festival 2025 review: Shane O’Reilly’s play confronts the ethics of cochlear-implant surgery for a deaf child

By Tom Lordan

Konstantin, at Dublin Theatre Festival, is an intelligent, quick and cracklingly alive take on Chekhov

Dublin Theatre Festival 2025 review: This inventive play asks what happens after The Seagull’s gunshot

By Ruby Eastwood

Poor, at Dublin Theatre Festival, is a show destined to keep returning and keep selling out

Dublin Theatre Festival 2025: Katriona O’Sullivan’s memoir becomes a crowd-pleasing play starring Aisling O’Mara and Hollie Lawlor

By Donald Clarke

The God and His Daughter, at Dublin Theatre Festival, has plenty of classical lamentation but not enough Marina Carr

Dublin Theatre Festival 2025: Second part of Marina Carr’s reworking of Sophocles’ Theban plays has plenty of lamentation but not enough Carr

By Tara Brady

Marina Carr’s The Boy, at Dublin Theatre Festival, asks us to look unflinchingly at the world we have made

Dublin Theatre Festival 2025: Version of the Oedipal myth distinguishes itself with unique Irish sense of fatalism and wit

By Tara Brady

The Quiet Man, at Dublin Theatre Festival, gets bogged down as it tries some reverse Paddywhackery

Dublin Theatre Festival 2025 review: John Breen and Mikel Murfi set out to reclaim the short story that became John Ford’s John Hinde vision of Ireland

By Chris McCormack

The Sound Inside, at Dublin Theatre Festival, is a play of haunting power

Dublin Theatre Festival 2025: Madeleine Potter and Eric Sirakian shine in Adam Rapp’s Tony-nominated story

By Arpita Chowdhury

I Fall Down, at Dublin Theatre Festival, is joyful, considered and very funny

Dublin Theatre Festival 2025: Gina Moxley’s ‘restoration comedy’ frankly contemplates women’s erasure in the official history of art

By Deirdre Falvey

This Hamlet, the opening show of Dublin Theatre Festival 2025, is both deeply serious and a riot of fun

Dublin Theatre Festival 2025 review: Teatro La Plaza’s questioning production is performed by a cast with Down syndrome

By Donald Clarke

Change, at Dublin Fringe, is a call to climate action rooted in urgency and optimism

Dublin Fringe Festival 2025: Croí Glan ask not only what we have lost but also what we might still save

By Arpita Chowdhury

Last Gig Ever!!, at Dublin Fringe, is less performance than audience endurance test

Dublin Fringe Festival 2025 review: In Last Gig Ever!!, two performers in oversized dark suits thrash around for an hour

By Ruby Eastwood

Alison Spittle’s show Big, at Dublin Fringe, is harrowing and hilarious

Dublin Fringe Festival review: Spittle is a fearless confessional comic and a great storyteller, as she shows in this bracingly honest account of life in a fat body

By Ruby Eastwood

YOU MAY ALSO LIKE...