Irish theatre

The history of Irish theatre begins in the Middle Ages and was for a long time confined to the courts of the Gaelic and "Old English" – descendants of 12th-century Norman invaders – inhabitants of Ireland. The first theatre building in Ireland was the Werburgh Street Theatre, founded in 1637, followed by the Smock Alley Theatre in 1662 which held performances 1787.

From the 17th century, theatrical productions in Ireland tended to serve the political purposes of the English colonial administration, but as more theatres opened and the popular audience grew, a more diverse range of entertainments were staged. Many Dublin-based theatres developed links with their London equivalents and performers and productions from the British capital frequently found their way to the Irish stage. However, almost all Irish playwrights from William Congreve to George Bernard Shaw found it necessary to leave their native island to establish themselves.

At the beginning of the 20th century, theatres and theatre companies dedicated to the staging of Irish plays and the development of indigenous writers, directors and performers began to emerge. This allowed many of the most significant Irish dramatists to learn their trade and establish their reputations in Ireland rather than in the United Kingdom or the United States.

Few historic theatre buildings survive in Ireland, and only a small minority predate the 20th century. The Gaiety Theatre in Dublin dates to 1871, and despite multiple alterations it retains several Victorian era features and remains Ireland's longest-established, continuously producing public theatre. The Theatre Royal, Waterford dates to 1876, but retains some structural material from the 1785 theatre building which preceded it, and is considered Ireland's oldest continually operating theatre. The Smock Alley Theatre was converted, in 2012, from an early 19th century church building which incorporated fabric from the 18th century theatre which preceded it, and is built on the foundations of the first Theatre Royal from 1662. It is thus often referred to as Ireland's "oldest new theatre" or "newest old theatre". The Lord Amiens Theatre was built as a private theatre wing of Aldborough House in 1795, and used as such until 1830. Despite alterations to the interior, structurally the building remains exactly as it was designed and first constructed, and it is thus considered the oldest purpose-built theatre building in Ireland.

Although there would appear to have been performances of plays on religious themes in Ireland from as early as the 14th century, the first well-documented instance of a theatrical production in Ireland is a 1601 staging of Gorboduc presented by Lord Mountjoy Lord Deputy of Ireland in the Great Hall in Dublin Castle. The play had been written by Thomas Sackville and Thomas Norton for the 1561/2 Christmas festivities at the Inner Temple in London and appears to have been selected because it was a story of a divided kingdom descending into anarchy that was applicable to the situation in Ireland at the time of the performance. Mountjoy started a fashion, and private performances became quite commonplace in great houses all over Ireland over the following thirty years.

The Werburgh Street Theatre in Dublin is generally identified as the "first custom-built theatre in the city," "the only pre-Restoration playhouse outside London," and the "first Irish playhouse."

In 1642, as a result of the English Civil War, Dublin Royalists were forced to flee the city. Many of them went to Kilkenny to join a confederacy of Old English and Irish that formed in that city. Kilkenny had a tradition of dramatic performance going back to 1366, and the Dublin company, much attenuated, set up in their new home. At least one new play was published in Kilkenny; A Tragedy of Cola's Fury, OR, Lirenda's Misery, a blatantly political work with the Lirenda of the title being an anagram of Ireland.

With the restoration of the monarchy in 1661, John Ogilby was commissioned to design the triumphal arches and write masques for the new king's entrance into London. Ogilby was reinstated as Master of the Revels and returned to Dublin to open a new theatre in Smock Alley. Although starting well, this new theatre was essentially under the control of the administration in Dublin Castle and staged mainly pro-Stuart works and Shakespearean classics. As a result, Irish playwrights and actors of real talent were drawn to London.