Insights to contemporary Ireland through immigrant theatre

In dem days was before the Africans came to Parnell Street. Them days was before the Africans came to our stages, too.
This was the year when immigrants got themselves a mayor, a minister, and a voice on the Irish stage. As in politics, so too in the theatre: most of the talking for immigrants is being done by the Irish – but not all.

From shadowlands to wonderland

“The most important doorway into theatre is the one first opened at the age of seven or eight. That moment is never forgotten.” Fresh from success in the West End, Michael Barker Caven is directing Alice in Wonderland at the Helix in Dublin this Christmas.

Keeping it on the fringe

The Spiegeltent has become the central focus of the Dublin Fringe Festival. But the rest of the fetivals offerings should not be overlooked. By Colin Murphy

Ulysses: An Odyssey

In 1907, James Joyce made brief notes for a short story about a Jewish character called ‘Mr Hunter'. He then abandoned this story but held onto the idea, believing that, with a little work, it might become something more.


Classic theatre, but nothing new

Arthur Miller's The Crucible is a masterclass in political drama, and the Abbey production is well staged and broadly well acted. But is it good enough for the National Theatre, asks Colin Murphy

The pornographer who invented Wanderley Wagon

In 1957, the first Dublin Theatre Festival was thrown into chaos when gardaí arrested the director of a new play, at a tiny theatre, on charges of profanity. By the time the charges were thrown out a year later, the theatre was practically bankrupt, its owners marginalised, and the second Dublin Theatre Festival was also in chaos. This is the story of The Rose Tattoo. By Colin Murphy

Erwin James: A lifer's sentence

As part of the Cúirt International Literary Festival, writer Erwin James, who spent his youth in borstals and most of his adult years behind bars,  spoke to inmates at Castlerea Prison. Colin Murphy looked on.