[No abstract available]

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[No abstract available]

Almost every European country that gained independence after the First World War had one thing in common: with only one exception, they all tried to stimulate the growth of a national literature by commissioning translations ...

Critics have been declaring Irish playwrighting to be in a state of crisis for most of the last 100 years but, even so, it’s hard not to feel glum about the present state of our writing for the stage. The latest plays from ...

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 ...

Perhaps unfairly, Marie Jones remains more noted for commercial rather than critical success. The Blind Fiddler – an exciting fusion of melodrama, traditional music, and great storytelling – looks likely to be as successful ...

Fintan Walsh’s new anthology begins with a line that seems in danger of subverting the rest of the book. “There is strength in numbers, so they say,” writes Frank McGuinness in his foreword – before adding “I’ve never ...

When Martin McDonagh’s Leenane plays first appeared in Ireland, they seemed exciting for many reasons: their delinquent humour, their rootedness in (but distance from) the Irish dramatic tradition, their wilfully ...

One of the clichés of Irish theatre historiography is that drama in this country is excessively verbal – that our dramatists write for the voice, but not for the body. But if you actually go to the theatre here, it soon ...