Anything Goes comes to Dublin: ‘It’s a chance to see something big and noisy and joyous’
Kathleen Marshall and Simon Callow on eye-popping new production of classic musical
Four Weddings at 25: The film that gave us ‘That Dress’, that poem and Hugh Grant the star
Four Weddings and a Funeral was, for a while, the highest grossing British film of all time
The Lyric Theatre at 50: a cultural bridge in a divided city
It opened its doors on the cusp of the Troubles, but Belfast’s Lyric has survived
John Banville among authors to sign letter against ‘forced resignation’ of editor over #MeToo essay
John Banville, Colm Tóibín, Roy Foster among over 100 writers to express dismay over departure of New York Review of Books editor Ian Buruma
Maurice: A gay love story way ahead of it’s time
Review: Homophobia probably made this one of Merchant Ivory’s least successful films
Six of the best films to see at the cinema this weekend
Julia Roberts and Owen Wilson wow in Wonder and James Franco hits gold in The Disaster Artist
Mindhorn review: good-fun, high-concept Britcom with a bit too much plot
Julian Barrett is 1980s TV clairvoyant investigator Mindhorn called back ito action to negotiate with real-life maniac the Kestrel
Anne Harris: Denigration of Gore-Booth sisters reveals Yeats’s flinty heart
Poet’s behaviour mirrors that of many patriarchal institutions, particularly – and ironically – the Catholic Church
Screening of Orson Welles’s F for Fake at Cork Film Festival
Actor and biographer Simon Callow to introduce last significant work from auteur
Orson Welles: Man, myth and ‘Magic’
‘He wasn’t really difficult,’ says Chuck Workman, director of a compelling new documentary about one of cinema’s giants
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
The best of Irish theatre: this year’s nominees
Announcing the ’Irish Times’ Irish Theatre Awards shortlist for 2013. Terrible financial circumstances did not limit the diversity of productions, from knockout operas to one-man shows
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