Artistic coordinator Roise Goan sits down with Kéoma Oran to discuss Dublin Theatre Festival’s upcoming 2026 programme
As one of the oldest art forms there is, theatre is a medium that celebrates humanity. From classics and contemporary revivals to new productions, it entertains its audiences with stories that connect and compel. The annual Dublin Theatre Festival maintains this, introducing both international and local theatrical productions in the heart of Ireland. This year’s festival will take place from 24th of September to the 11th of October. The perfect time for students who are returning to university, seeking a thrill after summer break, and hoping to be inspired by what they see on stage.
"Every show is new every year.” The Dublin Theatre Festival curates a fresh line of shows and performances each autumn and, as Róise Goan, the artistic director of the festival, says in an interview with The University Observer. “The festival is never traditional,” referring to how radically different this coming line up is to last year's. Róise explains that what makes the 69-year-old festival unique is its ability to bring the “very best world-class international theatre to Dublin”. Simultaneously, it provides a platform for showcasing the best of local Irish talent. This year’s programme will offer a diverse range of performances from home and around the globe.
Róise explains how the festival consists of numerous genres. From reimaginings of classic plays to “works that really challenge the idea of what even is live performance,” the festival will provide many exciting unconventionalities and original pieces. As “there is no show for every person”, the festival highlights the uniqueness of these mentioned provocative plays. Instead of shying away from challenging topics, the festival embraces these performances as it encourages its audiences and visitors to “take a chance” on new experiences and perspectives.
To help audiences navigate through the vast program, the festival developed a new categorisation system: Troublemakers, Matriarchy, It’s complicated, and Irish icons. These four categories avoid traditional genre-naming conventions and offer a better sense of theme that seems more approachable and understandable than traditional naming conventions.
Róise explains that “theatre is a connected art form” and, to showcase this, the festival has introduced a recommendation system in the form of cross-disciplinary referencing. Similar themed books, TV shows, and films will be used to recommend performances.
As long as theatre has existed, it has evolved with society. The Dublin Theatre festival proves this by adapting itself to the ever-growing, cross-media world that we experience daily. Trends on social media span art and its mediums, with accounts and channels that are dedicated to the intertextuality of media. This new inclusion is a nice touch that modernises the theatre-going experience. This festival is interested in “communicating thematic relevance” and “curatorial fit” with its audiences.
Additionally, the festival provides accessibility measures with the dual purposes of inclusivity, and the enjoyment and full immersion of the audience into the event’s vast experiences on offer. In addition to access guides available for every show, performances have been adapted while a schedule is provided showing information regarding sign language interpreted, audio-described and captioned performances, and touch tours. More details and information can be found on the Dublin Theatre Festival website.
Róise also expresses excitement over this year’s programme with the participation of, describing, “three really exceptional and extraordinary female artists who make works of scale”. Those names are Florentina Holzinger, Carolina Bianchi and Rébecca Chaillon. With the festival crossing country borders and providing Dublin city with a cultural exchange through theatre, presenting these artists’ work is a great achievement.
When asked about plays that she recommends for students, Róise suggests three: The Brotherhood by Carolina Bianchi, La Parabole du Seum by Rébecca Chaillon and Mami by Mario Bennucci. She further encourages guests of the festival to “take a chance” and “see something outside your comfort zone”. The festival also offers many immersive plays for those who really want to test the unlimited sensations that theatre has to offer.
Shows such as Cyclone, Dignity, Bees and Pram People invite audiences to interactive pieces, experiencing a less traditional side of theatre. The artistic director highlights clearly how these immense events and performances are a blink-and-you’ll-miss-it moment. You should not miss out on any event that speaks to you, as this year’s programme is full of great performances there to entertain and challenge you.
So, if you are interested in going and experiencing something new or even returning to the event, visit their website, DublinTheatreFestival.ie today to browse and book these performances. One tip before you book is the festival’s 10 for 10 promotions, which offer tickets priced at €10 for people under 30, freelance artists, art workers and unwaged people.