Reviews

U-R-HAMLET-TOO by Derrick Devine, Conor Madden and William Shakespeare

Reviewed by Jesse Weaver on 01 June 2013 28 May - 1 June 2013 in Project Arts Centre

U-R-HAMLET TOO is actor Conor Madden’s second attempt to pick apart the nature of art, spectatorship, and theatrical meaning using the indecisive Danish Prince as a point of departure. An earlier version of the show, U-R-HAMLET, was developed and performed last year as part of the 'Show in a Bag'...

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Under Pressure by Rachel Fehily

Reviewed by Caomhan Keane on 31 May 2013 27 May - 8 June 2013 in Bewley's Café Theatre

The phenomenon that is 50 Shades of Grey has already made its presence felt on the Irish theatre world, what with 51 Shades of Maggie enjoying a month long run on the Tivoli stage. The book is also a key plot point in Rachel Fehily's anomalous legal drama Under Pressure, which ran recently at Bewley's...

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Mojo Mickybo by Own McCafferty

Reviewed by Tom Maguire on 31 May 2013 30 May – 1 June 2013, and on tour in Brian Friel Theatre, Belfast

While Owen McCafferty is currently under commission to write the book and lyrics for a musical version of this play, first staged in 1998 by Kabosh, and a film version directed by Terry Loane was released in 2004, the joy of Mojo Mickybo is in the virtuoso performances it inspires and requires from...

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An Enemy of the People by Henrik Ibsen, adapted by Arthur Miller

Reviewed by Patrick Lonergan on 28 May 2013 28 May - 13 July 2013 in the Gate Theatre, Dublin

Ibsen’s 1882 An Enemy of the People is sometimes described as a problem play, in that it dramatises a compelling debate between two brothers about the nature of morality and individual responsibility. But that term might obscure the fact that it’s also quite a confused play: Ibsen himself...

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Can't Forget About You by David Ireland

Reviewed by Jane Coyle on 23 May 2013 23 May - 16 June, 2013 in Lyric Theatre (Naughton Studio)

For those familiar with his work, the title of David Ireland's new play, written during his tenure as writer-in-residence at the Lyric Theatre, is something of a double-edged sword, referencing not only its central theme of an irresistible - if unlikely - love affair but also the unforgettable content...

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De Profundis by Conor Maguire

Reviewed by Christina Hunt Mahony on 23 May 2013 21 May – 1 June, 2013 in Theatre Upstairs @ Lanigan's

De Profundis is the letter that Oscar Wilde wrote in Reading Gaol in 1897, addressed ostensibly to his former lover, Alfred “Bosie” Douglas. After Wilde had served two years penal servitude on a conviction of “gross indecency” his health had failed. The compassionate transfer...

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Dradin, In Love by Jeff VanderMeer, adapted for stage by Bob Kelly

Reviewed by Liam Heylin on 22 May 2013 22 - 25 May 2013 in the Granary Theatre, Cork

The labyrinthine world of fantasy writing is relatively under-represented in Irish theatre and Tribe Theatre have stepped up to the ivy-clad and cobwebbed plate to put matters right on that score.It could have been the cue for a lot of dry ice and the sound of rumbling storm clouds but in this new production,...

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hurry by Jean Butler

Reviewed by Seona Mac Réamoinn on 18 May 2013 18-22 May 2013 in Project Arts Centre

The reinvention of the body and its relationship to space and rhythm, to memory and technique is a risky and potent business for any choreographer. In the case of Jean Butler this is an experiment on her own body both as performer and dance maker, and one which emerges as a lyrical paean to the power...

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The Lesson by Eugène Ionesco

Reviewed by Susan Conley on 16 May 2013 14-18 May 2013 in Project Arts Centre

Theatre of the Absurd, is, well, absurd. If it’s not to your taste, no amount of stylistic flair on the part of the production team is going to convince you that your time and money has been well spent. If you’re keen to see what can be done with a text that has many tabula-rastic qualities,...

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Carmen by Georges Bizet

Reviewed by Terence Blain on 16 May 2013 3-18 May and 15-26 October 2013 (on tour) in An Táin, Dundalk

I've seen a lot of things in thirty years of watching opera, but I'd never seen an opera conducted by somebody wearing a hoody. Now I have, in Opera Theatre Company’s new staging of Bizet’s masterpiece Carmen. Why was conductor Andrew Synnott wearing it? Possibly to take the dress-down Friday...

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