The Star's critic MARIA DUARTE recommends an impressive impersonation of Bob Dylan
The long shadow of a masterpiece
JENNY FARRELL celebrates the continuing relevance of the first English-speaking playwright of proletarian origin to create world theatre
The Star's critic MARIA DUARTE reviews Here, Vermiglio, William Tell and Wolf Man
New releases from Thorpe and Morrison, Daria Kulesh, and Will Finn and Rosie Calvert
RINA ARYA confronts the brutal operation of Francis Bacon’s approach to portraiture
Emphasising his continuous engagement in labour movement struggles, ALISTAIR FINDLAY salutes John Foster’s contribution as activist, strategist, intellectual and defender of the Morning Star
ANDY MIAH advocates the use of AI to assist people by expanding access to global literature and culture
EWAN KOTZ relishes a veteran Glasgow band that have lost none of their verve for live performance
SEAN O’CASEY’s play The Shadow of a Gunman premiered 100 years ago, on April 12 1923, at Dublin’s national Irish theatre, the Abbey Theatre.
The theatre, which grew out of the Irish Renaissance movement for the renewal of Irish literature in 1904, encouraged new Irish writers and provided a platform for the exploration of progressive ideas on stage.
The Shadow of a Gunman is the first of O’Casey’s three Dublin plays, which examine the maturity and fortunes of the people at three important moments in Irish history — the Easter Rising (1916), the war of independence (1918-21), and the civil war (1922-23) — all of which O’Casey experienced.
More from this author
As Caspar David Friedrich’s 250th anniversary is celebrated in Berlin and New York, JENNY FARRELL urges viewers of the German Romantic painter to understand its true historical context, and beware its co-option by the far-right
As Caspar David Friedrich’s 250th anniversary is celebrated in Berlin and New York, JENNY FARRELL urges viewers of the German Romantic painter to understand its true historical context, and beware his co-option by the far right
JENNY FARRELL traces the critical role that the CPUSA played in the education of Harlem’s greatest man of letters
JENNY FARRELL introduces an extraordinary book that maintains the cultural practise of the GDR by writing about ordinary working lives
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Taking up social work after being widowed transformed a Victorian liberal into a lifelong fighter for causes as wide-ranging as Sinn Fein and Indian independence to the right of women to drink in pubs, writes MAT COWARD
LYNNE WALSH regrets that unity is denied to a fine cast let down by the baffling spectacle of a poor lead performance
On the 60th anniversary of the playwright’s death JENNY FARRELL draws attention to the potential for revolution portrayed in his little known late work
