2024-2025 Season

A New York Premiere
on the Francis J. Greenburger Mainstage

By Leo McGann
Directed by Matt Torney
Featuring Doireann MacMahon, Daniel Marconi, Samantha Mathis, Molly Ranson, Harrison Tipping, Annabelle Zasowski, and more to be announced

Belfast, 1979. At the height of the Troubles, two off-duty British soldiers think they’ve hit it off with two local girls at a unionist pub on the city’s outskirts. But what begins as a night of flirtation and playful sparring soon turns dark. Decades later, as one of the soldiers recounts the events for an American oral history project, long-buried memories resurface, drawing him back to Belfast in search of answers and revenge.

The Honey Trap was first presented as a staged reading at Irish Rep in 2024 as part of the New Works Fall Festival. Its world premiere was in 2023 with Solas Nua in Washington, DC.

September 17 – November 9, 2025

BOOK MEMBER TICKETS

Tickets will go on sale to the public on Tuesday, July 22 at 1pm.

Smoking hot…a riveting world premiere…the production shouts the talent of up-and-coming playwright Leo McGann –The Washington Post

 

on the Francis J. Greenburger Mainstage

By Conor McPherson
Directed by Ciarán O’Reilly

Starring Dan Butler, Sean Gormley, Johnny Hopkins, John Keating, and Sarah Street

July 9 — August 31, 2025

BOOK TICKETS

In a remote country pub in Ireland, newcomer Valerie finds herself drawn into an evening of ghost stories shared by the local bachelors who gather there to drink. With the wind howling outside and a hint of tension in the air, what begins as playful blarney soon drifts into the supernatural realm when Valerie shares her own haunting tale.

A longtime Irish Rep favorite, this marks the company’s fourth staging of The Weir, following acclaimed runs in 2013 and 2015, and a 2020 digital adaptation.

There’s NO BETTER ESCAPE from the city’s heat right now than the Irish Repertory Theatre’s EXCELLENT STAGING of The Weir.
INEVITABLE and NECESSARY. Jack and Finbar have an appealing camaraderie, one of the work’s GREAT COMEDIC PLEASURES. Butler, Gormley and Keating inhabit their roles and chemistries with KEEN UNDERSTANDING. They make PERFECT CONDUITS into this realm, and epitomize this lovely production. The Weir returns in TOP FORM.
— Juan A. Ramirez, The New York Times, CRITIC’S PICK

SPELLBINDING MASTERWORK. BEAUTIFULLY REALIZED. Street gives a lovely, understated performance. The stories told give off the warmth of a GLOWING FIRE IN A HEARTH. A PERFECTLY BALANCED performance of a classic piece of chamber music. As ever at this reliably fine theater, THE CAST IS SUPERLATIVE, with all five actors onstage bringing a distinctive coloring to their roles. The Weir‘s enduring appeal is on TRANSFIXING DISPLAY, directed with gentle finesse by Ciarán O’Reilly.

— Charles Isherwood, Wall Street Journal

I have adored this production—each time I’ve seen it—for more than a decade…These are some of the finest actors in the city. Irish Rep is, in fact, very like the bar in McPherson’s drama. In a chaotic and frightening world, it becomes a place to rest, comforted by the presence of increasingly dear, familiar faces –Helen Shaw, The New Yorker

An EXCELLENT CAST, BEAUTIFULLY DIRECTED by O’Reilly. Subtle directorial gestures highlight just how deeply O’Reilly has thought about this material. Keating is ESPECIALLY GRIPPING during his showcase storytelling moment, as is Butler in his concluding monologue. Street is PARTICULARLY MOVING in the way she delivers Valerie’s big monologue with a palpable wounded dignity. TERRIFIC STORYTELLERS, IT WILL KEEP YOU RIVETED THROUGHOUT.

— Kenji Fujishima, Theatermania

★★★★★ A STELLAR CAST brings this Irish Rep revival to life. The production has another “star,” that bone-chilling sound of the wind by sound designer Drew Levy who deserves proper credit. Director Ciarán O’Reilly does the true wonders in staging this story with grace, warmth and a touch of melancholy. THE ACTING IS SO NATURAL you’ll think you’ve stepped into a real Irish pub, a remarkable theatrical event.”

— Charles Passy, 100 Word Review

 

★★★★★

A PITCH PERFECT REVIVAL.

Dan Butler, perfecting the gift of the gab, Street makes her character’s anguish almost palpable. The Weir continues to cast its spell, offering flickers of narrative fire in the darkness of our collective isolation.”

— Thom Geier, Culture Sauce

 

★★★★

MAGNETIC.

Sound designer Drew Levy keeps a SCARIFYING WIND HOWLING outside. Butler is deeply moving. The effect is an audience-gripping silence, the MAGICAL kind that overtakes an enthralled audience. Guaranteeing the stories have MAXIMUM EFFECT are THE ACTING and O’Reilly’s FLAWLESS DIRECTION.

–– David Finkle, New York Stage Review

★★★★

A TENDER, TOUCHING and, yes, TRULY HAUNTING performance.

Dan Butler leads a SUPERB ENSEMBLE. Performances are SO AUTHENTIC.

SURELY and SENSITIVELY STAGED by Ciarán O’Reilly.

The COZY, REALISTIC INTERIOR is furnished with abundant detail by scenic designer Charlie Corcoran and warmly burnished by Michael Gottlieb’s lighting, homey properties provided by Deirdre Brennan, the plain, insightful clothes contributed by Leon Dobkowski and the fluctuating sounds of the storm outside as whipped up by Drew Levy contribute to the show’s SUBTLE POWER.

–– Michael Sommers, New York Stage Review

The Weir is rich in Hibernian lilt and the good fellowship of old friends sitting around a bar. Charlie Corcoran‘s set is so inviting, you’ll want to hop up there and order a Guinness. Street plays it with GREAT FINESSE, Butler NAILS IT. THE WHOLE CAST IS FLAWLESS. THE PRODUCTION HASN’T A FAULT. Leon Dobkowski‘s costumes are exactly as McPherson describes them in the script; Michael Gottlieb‘s lighting captures the low-intensity gleam of a past-its-prime pub; and Drew Levy‘s sound design, consists mainly of a fierce west wind. O’REILLY PACES IT EXPERTLY. AS FINE A WEIR AS YOU’LL EVER SEE.

–– Marc Miller, Talkin’ Broadway

Keating gives his usual ASSURED PERFORMANCE. Butler and Gormley SHINE in their passive-aggressive friendship, two sides of the same coin. Scenic designer Charlie Corcoran’s realistic pub is both welcoming and thirst-inducing.

–– Stanford Friedman, The Front Row Center

 

in the W. Scott McLucas Studio Theatre

Fishamble: The New Play Company and Irish Repertory Theatre
present the World Premiere

The Black Wolfe Tone is a thrilling new play about identity, raging against the machine, and how young men deal or don’t deal with the darkness. A fast-paced journey that interrogates our culture of silence, the mind, and growing up mixed race in Ireland. At its heart, it’s about a young boy seeking forgiveness: the inner child wanting only to be acknowledged, loved, and held.

May 1 — June 1, 2025

BOOK  TICKETS

Members always save 20% and have access to exclusive pre-sale events. Learn more about becoming a member today!

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The Black Wolfe Tone was developed through our Transatlantic Commissions Program in partnership with Dublin’s Fishamble: The New Play Company

 

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An ARRESTING and THOUGHT-PROVOKING look into one man’s life… DRAMATICALLY ENGAGING AND REALISTIC. Direction by Nicola Murphy Dubey and set design by Maree Kearns work SEAMLESSLY. An INTRIGUING BLEND OF REINVENTION AND HOMAGE.  – Rachel Graham, Theatermania

Kwaku Fortune makes himself known with GREAT FORCE, as does EXTREMELY IN-CHARGE director Nicola Murphy Dubey.  – David Finkle, New York Stage Review

A POWERFUL PIECE OF PLAYWRITING…it withholds nothing  – David Walters, The Front Row Center

Fortune lets you inside a troubled person’s mind to CHILLING EFFECT, touching upon the experience of being a Black man in a country where that’s somewhat unchartered territory. – Charles Passy, 100 Word Review

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Please Note: Strobe lighting effects are used during this performance.
Content Warning: This production contains discussion of suicide, drug use, mental illness, as well as strong language. Recommended for ages 14 and up.

This production is supported in part by the following organizations:

 

Irish Repertory Theatre presents the World Premiere
on the Francis J. Greenburger Mainstage

By Ciara Elizabeth Smyth
Directed by Nicola Murphy Dubey

Starring Kate Burton*, Saoirse-Monica Jackson, Kevin Oliver Lynch, Deirdre Madigan, Brenda Meaney, and Angela Reed, with voiceover work by Roger Clark.

*Just Announced: Deirdre Madigan (Philadelphia, Here I Come!) will join the cast of Irishtown as “Constance” on May 14, 2025. Kate Burton will play her final performance in the role on May 11.

Please Note: The role of Constance is now played by Deirdre Madigan. Kate Burton appears and will continue to be featured in promotional images created prior to this casting change.

April 2 — May 25, 2025

CALL FOR WAITLIST  212.727.2737

“We could just devise an Irish play… How hard could it be?”

The Irishtown Players, a celebrated Dublin-based theatre company, have just started rehearsals for their new play. After the astounding success of their last production, the company are scheduled to open on Broadway, with the same visionary playwright at the helm. However, trouble arises when the actors decide she’s going too dark, too experimental, and… not Irish enough? Taking matters into their own hands, the company fights to restore the Hibernian flair. Irishtown is a hilarious and searing new comedy that explores the commercialization of culture, inviting audiences to experience the fragile creative process and the potential collapse of a collective.

Recommended for audiences 16+.

WICKEDLY FUNNY. Friel, O’Casey, Walsh, Beckett…NO ONE IS SAFE from this epic ribbing, which rechristens the Irish Rep in laughter.  – Zachary Stewart, Theatermania

Irishtown is BOLD, and VERY ORIGINAL. Saoirse-Monica Jackson displays FINE STAGE CHOPS as the ingenue Siofra. Kevin Oliver Lynch’s dry delivery and bizarre attempts at Irish dialects, it’s a LAUGH OUT LOUD PERFORMANCE.  – Roma Torre, New York Stage Review

RIP ROARING HILARITY. A play that takes affectionate aim at the rich tradition of Irish theater. Kate Burton is delightful in her role. A LAUGH TIL-YOU-CRY spoof. – Juliet Hindle, Exeunt

A REALLY ENJOYABLE, LIGHT-HEARTED, RAUCOUS COMEDY. Guaranteed to have you GRINNING AND GIGGLING FROM START TO FINISH. Comedy is hard work, and they made it look effortless. – Paola Bellu, Stage and Cinema

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This production is supported by Culture Ireland.

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Members always save 20% and have access to exclusive pre-sale events. Learn more about becoming a member today

Content Warning: This production contains dark comedic themes and some references to incest, sexual assault, and infant loss.

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on the Francis J. Greenburger Mainstage

Irish Repertory Theatre Presents
Not Beckett 

Featuring Wait by FELISPEAKS, I Can’t Remember The by Nicola McCartney, Never Apologize by Jennifer Barclay, duet by Olwen Fouéré, The Lighthouse Keeper’s Son by Hannah Khalil

Directed by Nicola Murphy Dubey, Olwen Fouéré and Barbara Rubin
Produced by Alison Holder

Not Beckett is an international rolling premiere of five new short plays, presented as staged readings. These plays, in conversation with Samuel Beckett’s work, will not be adaptations but will instead be loosely inspired by a seed from the Beckett canon. Written by female-identifying and non-binary playwrights of diversified Irish descent across the globe, the goal is to use the inspiration of these contemporary classic plays to create a new canon.

February 24th & 25th, 2025

BOOK TICKETS

Tickets are priced at $15 each with no fees.
Standard member benefits do not apply; all members receive 20% off all tickets for this special event. Log-in to receive your discount.*

Each evening will run at about 90 minutes with no intermission, showcasing all five plays.

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Thanks to our Funding Supporters:
Culture Ireland
The T.S. Eliot Foundation
Maya Brin Institute for New Performance
International Program for Creative Collaboration and Research

From the Cradle to the Grave

Performed & filmed from the Francis J. Greenburger Mainstage

Three Short Plays by Samuel Beckett
Directed by Ciarán O’Reilly
Featuring F. Murray Abraham, Roger Dominic Casey, Kate Forbes, and Sarah Street

January 15 – March 16, 2025

Streamed March 16 – March 30, 2025

Three short plays that run the gamut of existence, from birth to the afterlife.

NOT I
“Practically speechless….all her days.”
A non-verbal woman, abandoned by her parents at birth and resigned to an uneventful life, suddenly hears voices at the age of 70 and realizes it’s she who is speaking.

PLAY
“We were not long together when she smelled the rat.”
Eternally together in the afterlife and locked in their urns, a man, his wife, and his mistress relay the sordid details of their love triangle.

KRAPP’S LAST TAPE
“Perhaps my best years are gone…But I wouldn’t want them back. Not with the fire in me now. No, I wouldn’t want them back.”
Krapp (F. Murray Abraham), an aged man, reviews his life with the assistance of his younger self, heard on autobiographical tape recordings.

[A] collection of three one-acts about mortality and memory, smartly directed by Ciarán O’Reilly and including “Krapp’s Last Tape,” starring an understatedly masterful F. Murray Abraham… Even the lighting (designed by Michael Gottlieb) is precisely as Beckett demands […] it works brilliantly… – Laura Collins-Hughes, The New York Times

F. Murray Abraham gives a riveting performance… Sarah Street performs this unfathomably daunting monologue [in Not I‘] with impressive speed and clarity… The actors scale the strange heights of the play’s inherent difficulties with aplomb. – Charles Isherwood, Wall Street Journal

[A] precisely judged anthology…Abraham is a master craftsman. – Helen Shaw, The New Yorker

Whether you’re a Beckett buff or not, you need to see this. – Pete Hempstead, TheaterMania

Krapp’s Last Tape… played now by F. Murray Abraham, this Krapp has to be ranked one of the best ever.  – David Finkle, New York Stage Review

Expertly helmed by Irish Rep’s producing director, Ciarán O’Reilly, this collection poses the burning existential questions that inform Beckett’s work with a grace and buoyancy that serve both its playful absurdism and its fundamental, exquisite bleakness. – Elysa Gardner, NY Sun

Street is a particular standout doing double duty as the solo performer in Not I and one third of the cast in Play. In both plays, she embraces with enthusiasm Beckett’s playfulness with words and language. – Patrick Maley, Exeunt

Beckett fans shouldn’t miss this expert production – Zach Adams, 100 Word Review

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