The Arts Review​

Jennifer Davis in Irish National Opera's Rusalka. Photo, Ruth Medjber **** Bad mouthing ballet and opera? Spare me. Timothée Chalamet’s asinine remarks suggesting the ping-pong boy should never be allowed speak without adult supervision. Certain columnists bafflingly endorsing Chalamet’s anti-opera foolishness. Rebuttals justified and immediate. Nathan Lane's no holds takedown on The View , and Fergus Shiel's more decorous response in the Irish Times speaking for millions. A

Gemma Allan and Síofra Ní Éilí in Wild Swimming. Image, Em Kelleher *** A pre-show pose foreshadows the theme of Marek Horn’s Wild Swimming. The Elizabethan costumed Oscar, sat reposing with hand extended towards the fingertips of the standing, dominant Nell, mirrors Michelangelo’s The Creation of Adam. Substituting Oscar for Adam and Nell for God, Wild Swimming aims to recreate the universe with the feminine elevated to empowered divinity. Its student polemics recycling

Ross Fitzpatrick and Molly Mew in Hot Mess. Image Isabel Hamilton ** In some respects Hot Mess lives up to its name. TeoChroí Company’s production of Ella Hickson ’s troubled script guilty of sloppy errors. Issues with low vocal projection, entrances, exits, positioning and pace proving compositionally clunky. Yet most errors are the result of inexperience and stuttering confidence. Of a new theatre company testing the waters a little before their time. Needing to start some