Category Archives: Irish Theatre

IRISH THEATRE NEWS

September 24The sea remembers everything. It holds in its depths the stories of those who trusted their lives to its mercy, only to discover its terrible power. This November, one such story will surface at London’s Irish Cultural Centre, brought to life through a haunting fusion of music, poetry, and the unmistakable voice of Oscar-nominated actor Stephen Rea. OCEAN CHILD represents something entirely unique in contemporary performance art. Born from the creative vision of Belfast cellist and composer Neil Martin, this extraordinary work transforms a forgotten maritime tragedy into an unforgettable artistic experience that transcends traditional boundaries between classical and folk music, between historical documentation and poetic interpretation. The story at its heart is achingly real. On January 21, 1854, the RMS Tayleur met its fate in the cold waters off Dublin’s Lambay Island. What should have been a triumphant maiden voyage to Australia became instead one of the most devastating shipwrecks in Irish maritime history. The clipper had departed Liverpool just two days earlier, carrying over 650 souls eager for new beginnings in the Australian colonies. Within hours of entering Irish waters, their dreams were swallowed by the sea. Only 280 people survived. It is Stephen Rea’s presence that elevates OCEAN CHILD from historical commemoration to something approaching the mystical. Known internationally for his powerful performances in THE CRYING GAME, MICHAEL COLLINS, and V FOR VENDETTA, Rea brings to this production a voice capable of carrying both intimate sorrow and epic scope. He embodies the titular Ocean Child, described as “a poetic creation evoking themes of memory, exile, and the vast power of the sea.” This is not merely narration; it is channeling, giving voice to the voiceless, speaking for those whose stories were lost beneath the waves. The Irish Cultural Centre in Hammersmith provides the perfect setting for this London premiere, as the venue celebrates its own 30th anniversary. Centre Director William Foote recognizes something special in OCEAN CHILD, describing it as encapsulating “everything the ICC stands for: artistic excellence, cross-cultural dialogue, and a commitment to work that transcends cultural and disciplinary boundaries.” This is precisely what makes the production so compelling—it refuses to be contained within conventional categories. OCEAN CHILD stands as testament to art’s unique power to rescue memory from oblivion. In an age where historical tragedies often become mere statistics, Martin’s composition insists on the human dimension of loss. Every note played by the quartet, every word spoken by Rea, every haunting melody drawn from the Mulcahy sisters’ instruments serves to remind us that behind every shipwreck lie individual stories of hope, fear, love, and desperate courage. The production’s November 8 and 9 performances represent the only opportunity London audiences will have to experience this remarkable work. In choosing to limit the run, the creators ensure that OCEAN CHILD remains what it was always meant to be—not a commercial entertainment, but a sacred act of remembrance, a artistic ritual that honors both the dead and the living’s need to understand their stories. Get your tickets HERE. Instagram Youtube [...]
September 19In the dim light of a rural Irish pub, where the line between this world and the next grows thin with each passing story, something extraordinary is happening at the Harold Pinter Theatre. Conor McPherson’s modern masterpiece THE WEIR has arrived in London, running until 6 December, and for the first time, the playwright himself sits in the director’s chair, guiding his own haunting creation with the intimate knowledge that only a creator can possess. Fresh from its acclaimed Dublin run at the 3Olympia Theatre, this production brings together a formidable ensemble that reads like a dream cast for Irish theatre lovers. Brendan Gleeson makes his long-awaited West End debut, joined by Owen McDonnell, Kate Phillips, Tom Vaughan-Lawlor, and Seán McGinley in what promises to be one of the year’s most talked-about theatrical events. For Seán McGinley, who embodies the quietly observant Jim, returning to McPherson’s text represents both professional privilege and personal pilgrimage. “It’s a young play by any standards,” he reflects, “but I think it’s already a classic in the canon of world theatre.” His assessment feels particularly weighted coming from an actor who has witnessed Irish theatre’s evolution firsthand, understanding that certain works transcend their temporal boundaries to speak across generations. McGinley’s appreciation for the play’s architecture runs deep, recognizing how McPherson constructs his emotional edifice with the precision of a master craftsman. “There’s a beautiful rhythm to the language and the play itself is so well constructed in terms of control, of mood and story, so it’s relatively easy to slide into that world,” he explains. This isn’t mere actor’s praise but genuine recognition of how McPherson’s dialogue carries its own musical logic, each exchange building toward moments of unexpected grace and revelation. The actor’s approach to inhabiting Jim reveals something essential about how THE WEIR operates as theatrical experience. McGinley understands that his character’s power lies not in what he says but in how he listens, how he holds space for others’ stories while carrying the weight of his own unspoken truths. “Whenever I’m not talking, I’m intently listening. It’s as simple as that, really,” he observes. “You have to keep your end of the bargain. You have to deliver your part of the story.” This philosophy of shared storytelling responsibility extends beyond individual performance into the very heart of what makes THE WEIR so compelling. Jim emerges as a man of few words whose quiet presence anchors the evening’s emotional journey, a loyal friend to Jack—Gleeson’s character—and a figure deeply rooted in the rhythms of rural Irish life. “He’s a deep thinker,” McGinley notes, “and he seems content enough with his lot. But there’s a shadow of something else there as well.” This production offers London audiences a rare opportunity to experience modern Irish theatre at its finest, guided by the playwright’s own vision and performed by actors who understand the delicate balance between humor and heartbreak that defines McPherson’s work. In the hush of those careful silences and the music of that beautiful language, THE WEIR creates space for the kind of theatrical magic that reminds us why live performance remains irreplaceable in our digital age. Instagram Youtube [...]
August 11After decades of commanding the screen in films like THE BANSHEES OF INISHERIN, Brendan Gleeson is making a triumphant return to his theatrical roots. The Oscar, BAFTA, Golden Globe-nominated, and Emmy-winning actor is set to make his long-awaited West End debut in Conor McPherson’s haunting masterpiece THE WEIR, marking not just a career milestone but a profound homecoming for one of Ireland’s most celebrated performers. Gleeson’s journey back to the stage represents more than a simple career pivot. While audiences worldwide know him as the formidable Mad-Eye Moody or the gentle Uncle Pastuzo, his theatrical foundation runs deep. His return to live performance feels particularly poignant as he takes on the role of Jack in his native Dublin before transferring to London’s Harold Pinter Theatre, bridging the gap between his Irish heritage and international acclaim. THE WEIR itself is a play that demands the kind of nuanced, lived-in performance that Gleeson has perfected over his career. McPherson’s modern classic unfolds on a stormy night in an isolated Irish pub, where four local men’s routine evening is transformed by the arrival of Valerie, a mysterious woman whose presence unleashes a cascade of increasingly unsettling tales. The stories they tell to impress her become windows into deeper truths about loneliness, connection, and the ghosts that haunt rural Irish life. For Gleeson, the role of Jack offers a perfect synthesis of his screen expertise and stage origins. Jack is both everyman and storyteller, a character who embodies the kind of weathered authenticity that has become Gleeson’s signature. The play’s exploration of human connection through storytelling mirrors Gleeson’s own career journey from the intimate world of theater to the global reach of cinema, and now back again to the raw immediacy of live performance. The production reunites Gleeson with a stellar Irish cast including Owen McDonnell from BAD SISTERS and KILLING EVE as Brendan, veteran actor Seán McGinley as Jim, Kate Phillips from PEAKY BLINDERS as Valerie, and Tom Vaughan-Lawlor, known for his powerful stage work in DANCING AT LUGHNASA, as Finbar. This ensemble brings together screen veterans and accomplished stage actors, creating the kind of theatrical alchemy that THE WEIR demands. Gleeson’s return to the stage after his remarkable film career feels like a natural evolution rather than a departure. The intimate scale of THE WEIR, with its focus on character revelation through dialogue and storytelling, plays to his strengths as an actor who can convey volumes with a glance or inflection. The transition from the 3Olympia Theatre in Dublin to the Harold Pinter Theatre in London will allow audiences on both sides of the Irish Sea to witness this master craftsman at work in his element. Instagram Youtube [...]
August 10When George Moore declared “Ireland is a little Russia” in 1911, he couldn’t have predicted how prophetic those words would prove for contemporary Irish theater. Now, over a century later, that connection finds its most compelling expression in Kabosh’s bold new adaptation of Chekhov’s THREE SISTERS, featuring Saoirse-Monica Jackson in what marks a significant return to her theatrical roots. Jackson, who captured hearts worldwide as the irrepressible Erin Quinn in DERRY GIRLS, brings her considerable talents back to the stage in this world premiere adaptation by Ciara Elizabeth Smyth. It’s a homecoming of sorts for the actress, whose career has flourished across both television and film in recent years, with notable appearances in THE CROWN and her breakout role that made her a household name. Her participation in this production represents more than just another credit—it’s a statement about the enduring power of live theater and the pull of meaningful storytelling. The production, directed by Marc Atkinson Borrull with designs by Molly O’Cathain, transforms Chekhov’s turn-of-the-century Russian provincial house into something distinctly Irish, building on Brian Friel’s 1981 translation that first premiered in Derry’s Guildhall. This isn’t merely cultural translation but artistic transformation, where the emotional entanglements of three sisters and their brother dreaming of Moscow become a meditation on Irish identity, displacement, and the universal human longing for something just out of reach. Jackson joins an impressive ensemble that includes Megan Cusack from CALL THE MIDWIFE, Lorcan Cranitch of THE CROWN, Breffni Holahan from THE NEVERS, Alex Murphy from THE YOUNG OFFENDERS, and Máiréad Tyers from EXTRAORDINARY. This casting demonstrates the current strength of Irish and British television talent willing to embrace the intimacy and immediacy of live theater, bringing their screen-honed skills to bear on Chekhov’s psychologically complex characters. What makes this adaptation particularly compelling is Smyth’s examination of nostalgia and the cyclical nature of history, themes that resonate powerfully in contemporary Ireland. The play’s exploration of characters trapped between past and future, unable to fully inhabit their present, speaks to a generation grappling with rapid social change while maintaining connections to tradition. Jackson’s involvement signals her commitment to projects that matter beyond mere entertainment value, choosing work that engages with serious themes while maintaining the sharp humor that has become her trademark. The rehearsed reading format, featuring fourteen actors including several DERRY GIRLS alumni, creates an intimate theatrical experience that strips away spectacle to focus on pure performance and language. This approach allows Jackson and her fellow performers to explore the nuanced emotional landscape of Chekhov’s characters without the constraints of full production, creating space for the kind of raw, immediate connection between performer and audience that defines great theater. For Jackson, this return to theater represents an artist at a crossroads, using her newfound prominence to champion meaningful work rather than simply capitalizing on her television success. Her choice to participate in this world premiere demonstrates a commitment to artistic growth and cultural contribution that extends beyond career advancement. It’s the kind of decision that marks the difference between a performer and an artist, between someone who acts and someone who uses their platform to engage with the world around them. Instagram Youtube [...]
August 2Nearly three decades after its debut, Marie Jones’ STONES IN HIS POCKETS continues to strike a chord with audiences worldwide, its razor-sharp commentary on Hollywood’s patronizing portrayal of Ireland as relevant today as it was in the 1990s. The latest production, currently running at Cork’s Everyman Theatre, brings this enduring classic full circle in the most unexpected way possible—as a genuine family affair that showcases not just the play’s timeless appeal, but also the remarkable trajectory of one of Northern Ireland’s most respected acting dynasties. At the heart of this production’s unique appeal is the involvement of Ian McElhinney, the veteran actor whose recent years have seen him transition from respected character actor to household name. While many know him as the stern patriarch Grandda Joe McCool in the beloved DERRY GIRLS, McElhinney’s career spans decades of distinguished work across stage and screen. His surprise cameo appearance in *Stones In His Pockets*, alongside his wife Marie Jones herself, adds an unexpected layer of authenticity to a play that has always been about the intersection of performance and reality. McElhinney’s presence in the production feels particularly poignant given his own journey through the entertainment industry. Having built his reputation through meticulous character work in productions ranging from GAME OF THRONES to countless Irish theatre productions, he understands intimately the world Jones created—one where local talent is often reduced to stereotypical roles while outsiders profit from romanticized versions of Irish culture. His cameo, brief though it may be, carries the weight of an actor who has navigated both sides of this equation throughout his career. The production itself, directed by Matthew McElhinney (Jones’ son), attempts to modernize the classic with digital projection backdrops and contemporary references, though these updates create an occasionally jarring disconnect. While the insertion of Amazon Prime references feels forced alongside the play’s otherwise period sensibilities, the core story remains devastatingly effective. Gerard McCabe and Shaun Blaney deliver bravura performances as Charlie and Jake, the two extras whose dreams and disillusionment drive the narrative forward. McCabe’s transformation into the flirtatious leading lady Caroline Giovanni with nothing more than an imaginary hair flick demonstrates the kind of theatrical magic that makes this play endure. Yet it’s the tragic undercurrent that gives STONES IN HIS POCKETS its lasting power. Beneath the comedy lies a story about economic desperation, rural decline, and the human cost of being treated as disposable. The play’s title references a heartbreaking event that serves as the emotional climax, and while this production doesn’t quite nail the tonal shift from comedy to pathos, the underlying themes remain potent. The fictional film-within-a-play, THE QUIET VALLEY, serves as a perfect metaphor for how Irish culture is often packaged and sold back to the world as something quaint and harmless. The production’s most satisfying moment comes in its final flourish—a trailer for Charlie and Jake’s own movie featuring several well-known faces, providing the kind of Hollywood ending that feels both earned and subversive. It’s a reminder that STONES IN HIS POCKETS has always been about more than cultural commentary; it’s about the universal human desire for recognition and the stories we tell ourselves about success. For Ian McElhinney, whose recent career renaissance has included everything from the blood-soaked political machinations of GAME OF THRONES to the gentle humor of DERRY GIRLS, this return to Marie Jones’ work represents a homecoming of sorts. His involvement, however brief, connects the play’s original vision with its contemporary relevance, bridging the gap between the Ireland of thirty years ago and the one audiences see today. As STONES IN HIS POCKETS continues its run at the Everyman Theatre through August 10th, it serves as both entertainment and time capsule, a reminder that some stories transcend their original moment to become permanent fixtures in our cultural landscape. With the McElhinney family’s involvement, this production becomes something more—a testament to the enduring power of Irish storytelling and the artists who continue to shape it across generations. Instagram Youtube [...]
May 6In a momentous theatrical event, acclaimed actor Brendan Gleeson is set to make his triumphant return to the stage after a decade-long absence in Conor McPherson’s haunting masterpiece THE WEIR. This special production marks several significant milestones as McPherson directs his own work for the first time since writing it nearly thirty years ago, while Gleeson, whose recent screen performances in THE BANSHEES OF INISHERIN and IN BRUGES have cemented his status as one of Ireland’s greatest acting talents, will make his West End debut. The announcement from Landmark Productions and Kate Horton Productions has already created tremendous anticipation among theatre enthusiasts. Gleeson, whose last stage appearance was in THE WALWORTH FARCE at Dublin’s 3Olympia Theatre in 2015, will return to that same venue where he began his career, performing from August 8 to September 6 before transferring to London’s Harold Pinter Theatre for a run extending to December 2025. “Conor McPherson’s THE WEIR is one of the rarest plays around,” Gleeson remarked, expressing his excitement about returning to the stage and making his West End debut. McPherson himself shared his disbelief that thirty years have passed since writing the play, calling it “an absolute honour” to bring it to life again with “one of the great titans of Irish acting.” THE WEIR, a profound meditation on human connection, takes place on a stormy night in rural Ireland where four local men gather in an isolated pub. Their usual banter is disrupted by the arrival of a woman named Valerie, leading them to share increasingly unsettling stories to impress her, unaware that she carries a deeply personal tale of her own that will shake them all. The play stands as a testament to our fundamental need for connection, the possibility of finding hope in darkness, and the enduring power of storytelling. Kate Horton described being “spellbound” by the play at its Royal Court premiere and expressed joy at bringing together such titans of Irish and international theatre. Anne Clarke of Landmark Productions recalled the thrill of learning about the project, having previously worked with Gleeson on THE WALWORTH FARCE alongside his sons Brian and Domhnall. This new production promises to be an extraordinary theatrical event, bringing together a legendary actor at the height of his powers with one of contemporary drama’s most moving and profound works, offering audiences in both Dublin and London a rare opportunity to witness theatrical magic in the making. [...]
April 30In a significant theatrical announcement, Aidan Turner will star alongside Lesley Manville and Monica Barbaro in an eagerly anticipated revival of LES LIAISONS DANGEREUSES at London’s National Theatre. This marks the first time Christopher Hampton’s celebrated adaptation of Pierre Choderlos de Laclos’ scandalous novel will grace the National’s stage, with performances expected to begin in spring 2026. The production reunites acclaimed director Marianne Elliott with the venue after a nine-year absence, forming a centerpiece of Indhu Rubasingham’s inaugural season as Artistic Director. For Turner, this role represents another prestigious addition to a career that has evolved dramatically since his breakout in POLDARK. The Irish actor has strategically balanced his screen work with challenging stage performances, including his critically lauded turn in Martin McDonagh’s THE LIEUTENANT OF INISHMORE. Turner will share the stage with BAFTA and Olivier Award-winner Manville, who joins fresh from her triumphant, award-winning performance in OEDIPUS at Wyndham’s Theatre—a production now Broadway-bound. Completing the high-profile casting trio is Barbaro, known for her role in TOP GUN: MAVERICK. The creative team assembling around this production includes set designer Rosanna Vize, costume designer Natalie Roar, movement director Tom Jackson Greaves, lighting designer James Farncombe, and sound designer Ian Dickson. Elliott’s return to the National, where her previous credits include ANGELS IN AMERICA, THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME, and co-direction of WAR HORSE, promises to bring fresh perspective to Hampton’s 1985 adaptation, known for its sharp wit, psychological complexity, and themes of manipulation and seduction. While exact dates, further casting details, and ticket information remain forthcoming, the production’s announcement as part of a 16-show season signals Rubasingham’s ambitious artistic vision for one of the world’s leading theatrical institutions. [...]
April 25John Carney’s beloved 2016 film SING STREET continues its artistic journey as it prepares for its UK stage premiere at London’s Lyric Hammersmith Theatre this summer. The musical adaptation, running from July 8 to August 23, 2025, brings the ’80s-infused coming-of-age story to British audiences following successful runs in Boston and New York. In an exciting casting announcement, Adam Hunter will make his musical theatre debut as Brendan, a fitting role considering his history with the production. Hunter featured prominently on the original film soundtrack and served as the featured vocalist on the OST version of “To Find You.” To commemorate this full-circle moment, producers have released a new track titled “Outside,” performed by Hunter, which offers a glimpse into Brendan’s character—a young man afraid to venture beyond his room into the world. “SING STREET has followed me throughout my career,” Hunter reflects. “Now, to be making my live theatre debut with this beautiful stage adaptation, featuring an incredible set of songs from the movie with brand-new music for the stage is a dream.” Set in Dublin in 1982, SING STREET tells the story of sixteen-year-old Conor who forms a band to impress the mysterious aspiring model Raphina. Against the backdrop of family turmoil and the challenges of fitting into a new Catholic school, Conor discovers the transformative power of music and young love. The musical preserves the film’s exploration of these themes while expanding the emotional landscape through new compositions. The stage adaptation boasts an impressive pedigree of Tony Award-winning talent. Enda Walsh, known for his work on ONCE (another John Carney film adaptation), pens the book, while Rebecca Taichman directs. The music comes from Gary Clark (of Danny Wilson fame) and John Carney himself, combining beloved songs from the original film with fresh material crafted specifically for the stage production. Get your tickets at singstreet.com. [...]
April 15In a stunning testament to his artistic versatility, Andrew Scott’s groundbreaking one-man adaptation of UNCLE VANYA is extending its Off-Broadway run before even beginning performances, a reflection of the actor’s meteoric rise in recent years. The production, now set to start on March 10 and continue through May 11, 2025, brings Scott’s tour-de-force performance to American audiences at the Lucille Lortel Theatre following its acclaimed West End run and subsequent film capture. The innovative adaptation sees Scott embodying all eight characters in Chekhov’s classic drama, where a professor and his young wife visit their rural estate managed by family members Vanya and Sonya, setting off a chain of romantic entanglements and tensions that culminate when the professor announces plans to sell the property. Scott developed this ambitious theatrical experiment alongside adaptor Simon Stephens, designer Rosanna Vize, and director Sam Yates, with rehearsals recently commencing in London. Scott’s recent career trajectory has been nothing short of extraordinary. While theater aficionados have long appreciated his stage presence in productions like HAMLET, PRESENT LAUGHTER, and SEA WALL, his mainstream popularity has surged through his mesmerizing performances in FLEABAG, RIPLEY, and ALL OF US STRANGERS. This latest venture highlights Scott’s continued commitment to challenging material despite his Hollywood success, returning to the American stage for the first time since his 2006 Broadway debut in THE VERTICAL HOUR alongside Julianne Moore and Bill Nighy. The production features an impressive creative team including lighting design by James Farncombe, sound design by Dan Balfour, video design by Jack Phelan, movement direction by Michela Meazza, music by Kelly Moran, and costume design by Natalie Pryce. Produced by Wessex Grove, Gavin Kalin Productions, and Kater Gordon, with Wagner Johnson Productions serving as executive producers, this extended run offers theatrical audiences a rare opportunity to witness one of today’s most captivating performers at the height of his artistic powers, transforming Chekhov’s ensemble drama into a singular showcase of his remarkable range. [...]
March 18Tennessee Williams’ haunting classic A STREETCAR NAMED DESIRE has returned to New York with fresh wounds and raw nerves, now playing at Brooklyn Academy of Music in a stripped-down London import starring Paul Mescal, the Irish actor whose meteoric rise continues to captivate audiences worldwide. Fresh from commanding the Roman arena in Ridley Scott’s GLADIATOR II, Mescal brings a youthful vitality and magnetic presence to Stanley Kowalski, the role immortalized by Marlon Brando. His performance stands as testament to his remarkable versatility, seamlessly transitioning from epic historical blockbusters to intimate psychological drama with the confidence of an actor far beyond his years. Rebecca Frecknall’s minimalist production—running a brisk three hours—reduces Williams’ humid New Orleans setting to its bare essentials: a square platform suggesting a boxing ring without ropes, surrounded by darkness. A percussionist perched above the stage punctuates moments of tension and violence like audible manifestations of Blanche’s deteriorating psyche. This stark approach, which might have been electrifying in a smaller venue, sometimes struggles to connect across the expansive Harvey Theater, creating a self-conscious distance that works against the play’s inherent intimacy. Patsy Ferran’s Blanche DuBois trembles on the edge of sanity throughout, her jittery portrayal emphasizing the character’s fragility and impending psychological collapse rather than lingering in her faded Southern glamour. Unlike other recent productions—the 2009 Sydney production with Cate Blanchett that sold out BAM but never reached Broadway, or the disappointing 2005 and 2012 Broadway revivals with Natasha Richardson and Nicole Ari Parker respectively—this interpretation refuses to indulge in Blanche’s delusions of gentility or invite the audience to share in her fantasies. Frecknall, who previously divided critics with her Broadway revival of CABARET, opts for stylized movement and percussive punctuation over the dreamy, poetic atmosphere traditionally associated with Williams’ work. The violence feels gratuitous at times, the concept heavy-handed. Yet Mescal’s presence grounds the production, his Stanley representing another impressive credential in a career that has rapidly evolved from indie darling in NORMAL PEOPLE to commanding Hollywood star. As he continues this remarkable trajectory between stage and screen, this STREETCAR ultimately serves as further evidence of Mescal’s extraordinary talent and range, even when the production surrounding him fails to fully realize Williams’ tragic vision of desire and delusion in the American South. More Paul Mescal Mescal: IFTA Best Supporting Actor Paul Mescal in GLADIATOR 2 ALL OF US STRANGERS now streaming Mescal and Scott take The Co-Star Test [...]
March 13Andrew Scott, the Emmy-nominated star of FLEABAG and ALL OF US STRANGERS, has brought his tour-de-force performance to New York as Simon Stephens’s radical adaptation of VANYA begins previews at the Lucille Lortel Theatre. Fresh from his recent cinematic triumphs in ALL OF US STRANGERS and RIPLEY, Scott now reprises the Olivier Award-winning role that London critics declared “a revelation” during its acclaimed run at the Duke of York’s Theatre in late 2023. This isn’t just another revival of Chekhov’s classic—it’s a theatrical high-wire act where Scott inhabits every character in the 105-minute production. While luminaries like Laurence Olivier, Ian McKellen, and Peter O’Toole have grappled with the titular role throughout theatrical history, Scott breaks new ground by embodying the entire dramatis personae. The actor, who first captivated American audiences in the BBC’s SHERLOCK before achieving global recognition as the “Hot Priest” in FLEABAG, brings his remarkable emotional range to this innovative staging. The production, co-created by Scott alongside adapter Simon Stephens, director Sam Yates, and designer Rosanna Vize, “explores the kaleidoscope of human emotions, harnessing the power of the intimate bond between actor and audience to delve deeper into the human psyche.” Scott’s involvement extends beyond mere performance—his creative partnership with the production team reflects his growing artistic influence following his meteoric rise in film and television. Scott’s return to New York theater marks a significant moment for the actor, who made his Broadway debut in 2006 in David Hare’s THE VERTICAL HOUR. Now, with an Olivier Award and a BAFTA already secured, and coming off his critically acclaimed performance in Andrew Haigh’s tender ghost story ALL OF US STRANGERS, Scott confirms his status as one of our most versatile performing artists. The off-Broadway run is scheduled for just eight weeks with an official opening night set for March 18. Theater enthusiasts unable to secure tickets may find solace in knowing the London production is currently streaming on National Theatre at Home, though nothing compares to witnessing Scott’s transformative performance live. This limited engagement, executive produced by Wagner Johnson Productions, features the design talents of James Farncombe (lighting), Dan Balfour (sound), Jack Phelan (video), Michela Meazza (movement), and Natalie Pryce (costumes), with Marianna Gailus serving as Scott’s understudy. More Andrew Scott IFTV-Blog-16-180×180 Scott earns Golden Globes nomination Andrew Scott in PEOPLE WATCHING RIPLEY now on Netflix [...]
February 26DERRY GIRLS sensation Saoirse-Monica Jackson is set to captivate New York audiences in her Off-Broadway debut this spring. The beloved actress, known for portraying Erin Quinn in the hit series, will headline the world premiere of IRISHTOWN at the Irish Repertory Theatre’s Francis J. Greenburger Mainstage, running April 2 to May 25, 2025, with an official opening on April 13. This fresh comedy, penned by Ciara Elizabeth Smyth and directed by Nicola Murphy Dubey, delves into the chaotic world of a Dublin theatre company. As rehearsals progress, the cast grows increasingly concerned that their playwright has created something too experimental and insufficiently Irish. Taking matters into their own hands to restore authentic Irish elements, they inadvertently unleash theatrical mayhem. Jackson won’t be alone on stage – the production boasts an impressive ensemble including Tony nominee Kate Burton of GREY’S ANATOMY fame, Angela Reed from HARRY POTTER AND THE CURSED CHILD, and Purgatory star Kevin Oliver Lynch, with Roger Clark contributing voiceover work. The 31-year-old actress has been steadily building an impressive portfolio beyond her breakout role in Derry Girls. Her film credits include FINDING YOU, THE FLASH, and UPGRADED, while her television work recently expanded to include Netflix’s black comedy series THE DECAMERON alongside Zosia Mamet. This limited Off-Broadway run represents an exciting new chapter for Jackson as she transitions from screen to stage, bringing her distinctive talent to New York’s vibrant theatre scene. [...]
January 7Fresh from two triumphant, sold-out runs in London’s West End, this stunning revival of Tennessee Williams’s A STREETCAR NAMED DESIRE comes to the Brooklyn Academy of Music for an exclusive five-week engagement. The production stars Paul Mescal (GLADIATOR II, AFTERSUN, ALL OF US STRANGERS) as Stanley Kowalski, alongside Patsy Ferran (LIVING, GOD’S OWN COUNTRY) as Blanche DuBois and Anjana Vasan (KILLING EVE, BLACK MIRROR) as Stella Kowalski. At the helm is Olivier Award-winning director Rebecca Frecknall (CABARET, SUMMER AND SMOKE). In the sultry heat of New Orleans, Blanche DuBois arrives at her sister Stella’s apartment, seeking refuge with nowhere else to turn. As the temperature rises, so does the tension within the cramped quarters. Stanley, portrayed by Mescal with what The New York Times calls “swagger and sensitivity,” begins to unravel the carefully woven threads of Blanche’s past. As her meticulously constructed façade begins to crumble, the production reveals the dark undercurrents that pulse beneath the surface of one of America’s greatest plays. Due to exceptional demand, additional matinee performances have been added on Thursday, March 13 at 1:30pm, Wednesday, March 19 at 1:30pm, Wednesday, March 26 at 1:30pm, and Wednesday, April 2 at 1:30pm. Get your tickets here. More Paul Mescal Mescal on THR’s ACTOR’S ROUNDTABLE Paul Mescal in GLADIATOR 2 ALL OF US STRANGERS now streaming Mescal to host SNL tonight [...]
September 30Olivier Award®-winning actor Andrew Scott (RIPLEY) will reprise his wildly acclaimed performance in VANYA, a radical new adaptation of Chekhov’s masterwork, UNCLE VANYA. Anton Chekhov’s timeless masterpiece has captivated audiences and influenced dramatists for more than 125 years, thanks to the emotional depth and subtle humor it brings to the exploration of unfulfilled dreams, existential yearning, and the complexities of human relationships. Learn More More Andrew Scott Scott wraps KNIVES OUT 3 Andrew Scott in PRESSURE Andrew Scott: Actors on Actors RIPLEY now on Netflix Previous Next https://youtu.be/KAkq5c9J43k [...]
February 12Andrew Scott’s VANYA, the solo adaptation of Chekhov’s Uncle Vanya, has won the Best Play Revival award at the 24th Annual WhatsOnStage Awards. The piece saw Scott take on all the four lead roles in the piece across a 105-minute runtime, and was heralded as “a revelation”. The Dublin-born actor is having an incredible year with stand-out performances on both stage and screen, most notably in ALL OF US STRANGERS with FOE‘s Paul Mescal. Learn More [...]
September 23Double Olivier Award winning actor Andrew Scott talks to Graham Norton ahead of returning to London’s glittering West End to star in a new adaption of VANYA. Co-created by Scott, along with Simon Stephens, Sam Yates and Rosanna Vize, the story follows Chekhov’s closely, although Stephen’s adaptation is in modern vernacular with anglicised names and not a samovar in sight. Watch Now [...]
June 8FLEABAG hot priest Andrew Scott is set to play every role in the new production of VANYA on the West End this Autumn. Scott’s name is most renowned for his appearances on Television, with starring roles in FLEABAG and SHERLOCK, as well as an appearance in Netflix’s BLACK MIRROR. Scott has also appeared in movies such as war thriller 1917, and SPECTRE, Daniel Craig’s fourth Bond film, where Scott appeared as a nemesis of the infamous British spy. Full Preview [...]
Instagram Youtube

Irish Theatre

, , ,

VANYA adds additional off-Broadway dates

VANYA adds more off-Broadway dates

VANYA adds more off-Broadway dates

In a stunning testament to his artistic versatility, Andrew Scott’s groundbreaking one-man adaptation of UNCLE VANYA is extending its Off-Broadway run before even beginning performances, a reflection of the actor’s meteoric rise in recent years. The production, now set to start on March 10 and continue through May 11, 2025, brings Scott’s tour-de-force performance to American audiences at the Lucille Lortel Theatre following its acclaimed West End run and subsequent film capture.

The innovative adaptation sees Scott embodying all eight characters in Chekhov’s classic drama, where a professor and his young wife visit their rural estate managed by family members Vanya and Sonya, setting off a chain of romantic entanglements and tensions that culminate when the professor announces plans to sell the property. Scott developed this ambitious theatrical experiment alongside adaptor Simon Stephens, designer Rosanna Vize, and director Sam Yates, with rehearsals recently commencing in London.

Scott’s recent career trajectory has been nothing short of extraordinary. While theater aficionados have long appreciated his stage presence in productions like HAMLET, PRESENT LAUGHTER, and SEA WALL, his mainstream popularity has surged through his mesmerizing performances in FLEABAG, RIPLEY, and ALL OF US STRANGERS. This latest venture highlights Scott’s continued commitment to challenging material despite his Hollywood success, returning to the American stage for the first time since his 2006 Broadway debut in THE VERTICAL HOUR alongside Julianne Moore and Bill Nighy.

The production features an impressive creative team including lighting design by James Farncombe, sound design by Dan Balfour, video design by Jack Phelan, movement direction by Michela Meazza, music by Kelly Moran, and costume design by Natalie Pryce. Produced by Wessex Grove, Gavin Kalin Productions, and Kater Gordon, with Wagner Johnson Productions serving as executive producers, this extended run offers theatrical audiences a rare opportunity to witness one of today’s most captivating performers at the height of his artistic powers, transforming Chekhov’s ensemble drama into a singular showcase of his remarkable range.

This error message is only visible to WordPress admins

Error: No connected account.

Please go to the Instagram Feed settings page to connect an account.

Irish Theatre

Mescal in A STREETCAR NAMED DESIRE

Mescal in A Streetcar Named Desire

Mescal in A Streetcar Named Desire

Tennessee Williams’ haunting classic A STREETCAR NAMED DESIRE has returned to New York with fresh wounds and raw nerves, now playing at Brooklyn Academy of Music in a stripped-down London import starring Paul Mescal, the Irish actor whose meteoric rise continues to captivate audiences worldwide. Fresh from commanding the Roman arena in Ridley Scott’s GLADIATOR II, Mescal brings a youthful vitality and magnetic presence to Stanley Kowalski, the role immortalized by Marlon Brando. His performance stands as testament to his remarkable versatility, seamlessly transitioning from epic historical blockbusters to intimate psychological drama with the confidence of an actor far beyond his years.

Rebecca Frecknall’s minimalist production—running a brisk three hours—reduces Williams’ humid New Orleans setting to its bare essentials: a square platform suggesting a boxing ring without ropes, surrounded by darkness. A percussionist perched above the stage punctuates moments of tension and violence like audible manifestations of Blanche’s deteriorating psyche. This stark approach, which might have been electrifying in a smaller venue, sometimes struggles to connect across the expansive Harvey Theater, creating a self-conscious distance that works against the play’s inherent intimacy.

Patsy Ferran’s Blanche DuBois trembles on the edge of sanity throughout, her jittery portrayal emphasizing the character’s fragility and impending psychological collapse rather than lingering in her faded Southern glamour. Unlike other recent productions—the 2009 Sydney production with Cate Blanchett that sold out BAM but never reached Broadway, or the disappointing 2005 and 2012 Broadway revivals with Natasha Richardson and Nicole Ari Parker respectively—this interpretation refuses to indulge in Blanche’s delusions of gentility or invite the audience to share in her fantasies.

Frecknall, who previously divided critics with her Broadway revival of CABARET, opts for stylized movement and percussive punctuation over the dreamy, poetic atmosphere traditionally associated with Williams’ work. The violence feels gratuitous at times, the concept heavy-handed. Yet Mescal’s presence grounds the production, his Stanley representing another impressive credential in a career that has rapidly evolved from indie darling in NORMAL PEOPLE to commanding Hollywood star. As he continues this remarkable trajectory between stage and screen, this STREETCAR ultimately serves as further evidence of Mescal’s extraordinary talent and range, even when the production surrounding him fails to fully realize Williams’ tragic vision of desire and delusion in the American South.

More Paul Mescal

Mescal: IFTA Best Supporting Actor
Paul Mescal in GLADIATOR 2
ALL OF US STRANGERS now streaming
Mescal and Scott take The Co-Star Test

Irish Theatre

Andrew Scott in VANYA

Andrew Scott in VANYA

Andrew Scott in VANYA

Andrew Scott, the Emmy-nominated star of FLEABAG and ALL OF US STRANGERS, has brought his tour-de-force performance to New York as Simon Stephens’s radical adaptation of VANYA begins previews at the Lucille Lortel Theatre. Fresh from his recent cinematic triumphs in ALL OF US STRANGERS and RIPLEY, Scott now reprises the Olivier Award-winning role that London critics declared “a revelation” during its acclaimed run at the Duke of York’s Theatre in late 2023.

This isn’t just another revival of Chekhov’s classic—it’s a theatrical high-wire act where Scott inhabits every character in the 105-minute production. While luminaries like Laurence Olivier, Ian McKellen, and Peter O’Toole have grappled with the titular role throughout theatrical history, Scott breaks new ground by embodying the entire dramatis personae. The actor, who first captivated American audiences in the BBC’s SHERLOCK before achieving global recognition as the “Hot Priest” in FLEABAG, brings his remarkable emotional range to this innovative staging.

The production, co-created by Scott alongside adapter Simon Stephens, director Sam Yates, and designer Rosanna Vize, “explores the kaleidoscope of human emotions, harnessing the power of the intimate bond between actor and audience to delve deeper into the human psyche.” Scott’s involvement extends beyond mere performance—his creative partnership with the production team reflects his growing artistic influence following his meteoric rise in film and television.

Scott’s return to New York theater marks a significant moment for the actor, who made his Broadway debut in 2006 in David Hare’s THE VERTICAL HOUR. Now, with an Olivier Award and a BAFTA already secured, and coming off his critically acclaimed performance in Andrew Haigh’s tender ghost story ALL OF US STRANGERS, Scott confirms his status as one of our most versatile performing artists.

The off-Broadway run is scheduled for just eight weeks with an official opening night set for March 18. Theater enthusiasts unable to secure tickets may find solace in knowing the London production is currently streaming on National Theatre at Home, though nothing compares to witnessing Scott’s transformative performance live. This limited engagement, executive produced by Wagner Johnson Productions, features the design talents of James Farncombe (lighting), Dan Balfour (sound), Jack Phelan (video), Michela Meazza (movement), and Natalie Pryce (costumes), with Marianna Gailus serving as Scott’s understudy.

More Andrew Scott

IFTV-Blog-16-180x180
Scott earns Golden Globes nomination
Andrew Scott in PEOPLE WATCHING
RIPLEY now on Netflix

Irish Theatre

DERRY GIRLS star hits Broadway

DERRY GIRLS star hits Broadway

DERRY GIRLS star hits Broadway

DERRY GIRLS sensation Saoirse-Monica Jackson is set to captivate New York audiences in her Off-Broadway debut this spring. The beloved actress, known for portraying Erin Quinn in the hit series, will headline the world premiere of IRISHTOWN at the Irish Repertory Theatre’s Francis J. Greenburger Mainstage, running April 2 to May 25, 2025, with an official opening on April 13.

This fresh comedy, penned by Ciara Elizabeth Smyth and directed by Nicola Murphy Dubey, delves into the chaotic world of a Dublin theatre company. As rehearsals progress, the cast grows increasingly concerned that their playwright has created something too experimental and insufficiently Irish. Taking matters into their own hands to restore authentic Irish elements, they inadvertently unleash theatrical mayhem.

Jackson won’t be alone on stage – the production boasts an impressive ensemble including Tony nominee Kate Burton of GREY’S ANATOMY fame, Angela Reed from HARRY POTTER AND THE CURSED CHILD, and Purgatory star Kevin Oliver Lynch, with Roger Clark contributing voiceover work.

The 31-year-old actress has been steadily building an impressive portfolio beyond her breakout role in Derry Girls. Her film credits include FINDING YOU, THE FLASH, and UPGRADED, while her television work recently expanded to include Netflix’s black comedy series THE DECAMERON alongside Zosia Mamet.

This limited Off-Broadway run represents an exciting new chapter for Jackson as she transitions from screen to stage, bringing her distinctive talent to New York’s vibrant theatre scene.

Irish Theatre

,

Mescal in A STREETCAR NAMED DESIRE

Mescal in A STREETCAR NAMED DESIRE

Mescal in A STREETCAR NAMED DESIRE

Fresh from two triumphant, sold-out runs in London’s West End, this stunning revival of Tennessee Williams’s A STREETCAR NAMED DESIRE comes to the Brooklyn Academy of Music for an exclusive five-week engagement. The production stars Paul Mescal (GLADIATOR II, AFTERSUN, ALL OF US STRANGERS) as Stanley Kowalski, alongside Patsy Ferran (LIVING, GOD’S OWN COUNTRY) as Blanche DuBois and Anjana Vasan (KILLING EVE, BLACK MIRROR) as Stella Kowalski. At the helm is Olivier Award-winning director Rebecca Frecknall (CABARET, SUMMER AND SMOKE).

In the sultry heat of New Orleans, Blanche DuBois arrives at her sister Stella’s apartment, seeking refuge with nowhere else to turn. As the temperature rises, so does the tension within the cramped quarters. Stanley, portrayed by Mescal with what The New York Times calls “swagger and sensitivity,” begins to unravel the carefully woven threads of Blanche’s past. As her meticulously constructed façade begins to crumble, the production reveals the dark undercurrents that pulse beneath the surface of one of America’s greatest plays.

Due to exceptional demand, additional matinee performances have been added on Thursday, March 13 at 1:30pm, Wednesday, March 19 at 1:30pm, Wednesday, March 26 at 1:30pm, and Wednesday, April 2 at 1:30pm.

Get your tickets here.

More Paul Mescal

Mescal on THR's ACTOR'S ROUNDTABLE
Paul Mescal in GLADIATOR 2
ALL OF US STRANGERS now streaming
Mescal to host SNL tonight

Irish Theatre

,

Scott to reprise VANYA role

Andrew Scott to reprise VANYA role

Andrew Scott to reprise VANYA role

Olivier Award®-winning actor Andrew Scott (RIPLEY) will reprise his wildly acclaimed performance in VANYA, a radical new adaptation of Chekhov’s masterwork, UNCLE VANYA. Anton Chekhov’s timeless masterpiece has captivated audiences and influenced dramatists for more than 125 years, thanks to the emotional depth and subtle humor it brings to the exploration of unfulfilled dreams, existential yearning, and the complexities of human relationships.

Learn More

More Andrew Scott

Scott wraps KNIVES OUT 3
Andrew Scott in PRESSURE
Andrew Scott: Actors on Actors
RIPLEY now on Netflix

Irish Theatre

,

VANYA wins Best Play Revival award

Andrew Scott

Andrew Scott’s VANYA, the solo adaptation of Chekhov’s Uncle Vanya, has won the Best Play Revival award at the 24th Annual WhatsOnStage Awards. The piece saw Scott take on all the four lead roles in the piece across a 105-minute runtime, and was heralded as “a revelation”. The Dublin-born actor is having an incredible year with stand-out performances on both stage and screen, most notably in ALL OF US STRANGERS with FOE‘s Paul Mescal.

Learn More

Irish Theatre

,