What happens to perspective when theatre adopts a first-person narrative?
Consider Friel’s plays and you realise what happens on stage can be acutely subjective
The Father review: Owen Roe gives a masterful performance in Zeller’s play
In this empathetic and slippery production, as his confusion grows, so does ours
A Month in the Country review: Getting a grip on some love angles
Turgenev’s play gets a stately pace as Brian Friel smuggles the radical energy of passion into a distinctly Irish word play
An American take on Friel’s Irish Russia
‘Itinerant director’ Ethan McSweeny is bringing his outsider’s eye to Brian Friel’s translation of A Month in the Country at the Gate
A stitch in time
Staging a costume drama? Take as many liberties as you like with the set, but keep those corsets and ruffles as is
An actor’s journey into character
Tomorrow, this year’s Irish Times Irish Theatre Awards will be presented. The nominees for best actor and best actress talk about the roles they play
Set for success: the art of making ‘playgrounds for the actors’
The worlds represented in the four nominations for best set in the ‘Irish Times’ Irish Theatre Awards are very different, but they all fit somewhere between pragmatism and poetry
Repulsion and attraction in New Orleans
What makes the lead performances so compelling in this version of ‘Streetcar’ is that each actor subtly plays their character against type
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