A young British soldier must find his way back to safety after his unit accidentally abandons him during a riot in the streets of Belfast.

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The play is a blend of black comedy, melodrama, horror and bleak tragedy. The story is set in the Irish village of Leenane, Connemara in the early 1990s. It takes place entirely in a shabby, poorly-lit kitchen, resulting in a claustrophobic sense of entrapment.

The play centers on the life of Maureen Folan, a 40-year-old spinster who takes care of her selfish and manipulative 70-year-old mother Mag. Maureen's sisters have escaped into marriage and family life, but Maureen, with a history of mental illness, is trapped in a seriously dysfunctional relationship with her mother.

The Folan cottage is visited by Pato Dooley and his younger brother Ray. Pato is a middle-aged construction worker fed up with having to live and work in England, disappointed by the limitations and loneliness of his life. The day-to-day sameness is tedious also for Ray, a non-threatening "bad boy".

The glimmer of a last-chance romance between Maureen and Pato sparks up in the first act, and continues in the second one with a notable monologue of Pato. The plot, full of deceptions, secrets and betrayals interspersed with turnabouts, keeps surprising the audience. Hopes are raised only to be dashed.

On a bare country road Vladimir and his friend Estragon wait in hope of salvation from a man called Godot. Their hope of salvation lies in Godot's arrival. While waiting they play games, entertain one another with vaudevillian tricks, question whether Godot will arrive and how they will benefit when he does. They are interrupted by the arrival of Pozzo (a land owner) and Lucky (Pozzo's slave). Pozzo questions their reasoning for waiting. Lucky performs a staggering burst of a monologue. Pozzo and Lucky exit, night falls and a young boy arrives and tells Vladimir and Estragon that "Mr Godot won’t come here today but he'll surely arrive tomorrow.” In Act two Pozzo returns but he is blind and Lucky is mute. Vladimir and Estragon continue waiting. Still determining to go, the tramps do not move.

“I cannot express how much this show means to me,” writes artistic director, Peter Reid. “It is undoubtedly the greatest show of the 20th Century and has revolutionised the fabric of theatre.”

Hollywood-style time travel tales like to focus their attention on cultural fads and fashions: clothes, music, slang, daily technologies. The ingeniously low-budget Irish sci-fi film LOLA has fun with all of that, but also investigates darker, more global questions like: what if Germany had won World War II?
Pieced together in dazzling 16mm as an imaginary collage of interlocking audio-visual documents from the 1940s, Andrew Legge, directing his debut feature, conjures the lives of two gifted and lively sisters, Thomasina and Martha. Left to their own devices as children, the pair has managed to create a machine that receives media broadcasts from the future. In their personal, cloistered, punk paradise, they embrace the rebellious styles of an age to come – The Kinks, David Bowie – but also discover, when military personnel move in, that history is a dangerous game to toy with. The ultimate question becomes: if mass media can change the world, can cinema miraculously restore it?
Just like the monument to bricolage created by its characters, LOLA is an inspired conceit in the style of Guy Maddin, Woody Allen’s Zelig (1983) and Peter Jackson’s Forgotten Silver (1996). It’s a surreal romp through scratches, glitches and speculative possibilities.
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About a week after the Woods family move in to Xaos House, their daughter Ellie goes missing during a power cut. Ellie's mother Keira investigates and finds that the walls have strange symbols engraved into them. After a number of terrifying supernatural experiences she comes to the conclusion that the house took Ellie. She discovers that a physicist and occultist called John Fetherston, who was obsessed with finding the 11th dimension, built the house and engraved sinister equations on the 10 steps leading into the cellar. Finally, Keira must battle with the universe’s most ancient evil, or lose her family’s souls forever.