Brendan Daly - Page 2

Irish dance company Teac DamsaHouse of Dance has just announced that its production of Swan Lake (or in the Irish language translation, Loch na hEala) will embark on an extensive US and Canada tour, opening the Next Wave Festival 2019 at BAM, New York, before touring to Minneapolis, Ottawa, Los Angeles, Michigan, and North Carolina for six weeks.

'Furniture is not sentimental,' offers George, despairing at his difficulty in bequeathing his beloved chaise longue to a willing beneficiary, near the close of Sonya Kelly's scintillating new play Furniture. 'You can love it, but it won't remember who you are.'

Cristín Kehoe's Shelter attempts to negotiate the knotty relationship between Ireland's turbulent past and uneasy present.

“'Moving on' is for stupid people,” insists the haunted, just-bereaved Dad (Cillian Murphy) in the world premiere of Grief is the Thing with Feathers, Enda Walsh's ambitions, striking, but unsatisfactory stage adaptation of Max Porter's 2016 novel.

Druid Theatre, Galway, Ireland, announces the inaugural Marie Mullen Bursary, open to female theatre artists working in Ireland in the fields of design, directing and dramaturgy.

A stark exploration of inheritance, home, and the legacy of Ireland's post-Famine mindset, Eugene McCabe's unsettling, overlooked King of the Castle is imaginatively revived in Druid Theatre's production.

With sparkling assurance, Abbie Spallen's Pumpgirl splices comedy and tragedy.

In a dystopian landscape charged with searing verbal aggression, sustained horror, and gratuitous violence, Crestfall unfolds on the day when the lives of Olive, Alison, and Tilly fatefully intersect.  

Twenty years after it premiered The Beauty Queen of Leenane, the debut work of unknown playwright Martin McDonagh, Druid Theatre Company is restaging the play that catapulted them and its author to international acclaim.

Debut playwright Meadhbh McHugh tackles traditional themes of home, identity, and duty in Druid's world premiere of Helen and I.

“Nothing happens,” thunders Estragon, “nobody comes, nobody goes – it's awful!” We are, of course, in the existential nowhere of Waiting for Godot, Samuel Beckett's modern masterpiece, which flings metaphysical anguish up against slapstick comedy.

Fresh from co-writing the musical play Lazarus with David Bowie, the awards-laden Irish dramatist Enda Walsh presents the world premiere of his latest work: Arlington [a love story].

Four local men gather in a forgotten pub in a remote part of Ireland and attempt to impress an outsider, a young woman newly-arrived to the area, with their ghost stories, but she delivers a haunting story of loss that devastates them.

On the 50th anniversary of the death of the acclaimed Irish short story writer Frank O'Connor, God Bless the Child fuses three of his works into a largely successful stage adaptation.