Before review: The familiar melody of Pat Kinevane's extravagantly intimate song

Pat Kinevane's new play follows a man reunited with his daughter after 17 years apart. Photo: Patrick Redmond 

Woman Undone review: A reimagining of Mary Coughlan's life, ethereal and terrifying like a nightmare

The singer watches her younger self suffer predatory attacks and downspins through addiction, in this avant-garde play. Photo: Simone Rudolphi

We Can't Have Monkeys in the House review: A dark surreal comedy about traumatised sisters

A woman is reunited with her sisters to fulfil their mother's dying wish in Ciara Elizabeth Smyth's affecting new comedy. 

Asking for It review: Home truths on rape culture in an outstanding production

Louise O'Neill's acclaimed novel moves to stage, and puts new shape on this essential era. Photo: Ros Kavanagh 

The Bystander review: A blurry dance about staying on the sidelines

Junk Ensemble's brooding production is driven by the shocking murder of Kitty Genovese, out in the open, in 1964 New York. Photo: Marco Novara 

Double Cross review: Thomas Kilroy's hi-tech play gets an analogue production

Kilroy frames Brendan Bracken and William Joyce as Cain and Abel-like brothers, forged together by one actor's performance. Photo: Melissa Gordon

Bluebeard's Castle review: A magnificent art-horror opera exposing a male monster

A woman throws open the doors of Bluebeard's Castle, bringing her closer to his crimes, in Béla Bartók's terrific opera.

The Fever review: Compassionate interactive theatre, recognising cries for help

In 600 HIGHWAYMEN's fascinating production, the audience play guests and neighbours at a house party. Photo: Waleed Shah

Company review: Samuel Beckett's life-retrospective is a big ask for the stage

Samuel Beckett's late novella about mortality receives a sombre adaptation by Sarah Jane Scaife. Photo: Futoshi Sakauchi

ELIZA'S Adventures in the Uncanny Valley review: Some eccentricities in this absurd drama don't seem well scripted

A group of androids struggle with feelings of irrelevance in Eugene O'Brien and Gavin Quinn's new play. Photo: Ros Kavanagh