Young Critics 2019- Applications Now Closed

Young Critics is one of Youth Theatre Ireland’s most popular and innovative programmes. Over a six-month period, participants will see some incredible shows, make new friends and learn about the art of theatre criticism.



It is open to youth theatre members who are interested in watching theatre, discovering how and why theatre is made, and learning how to critically discuss, analyse, and review theatre.

During the programme, young people are given an opportunity to see quality productions while developing their critical skills under the mentorship of international theatre critic and academic, Dr. Karen Fricker, and Youth Theatre Ireland’s own Alan King.

This year the programme will include a particular focus on engaging with different forms of criticism. These will include writing reviews and developing blogs, making podcasts, creating video blogs, and much more.

Young critics has helped make new friends, learn to express my opinions, gave me insight to lots of different types of theatre and gave me the tools to voice my critiques in a number of ways. – Young Critic 2018


The Young Critics will first meet in Dublin from Friday April 12th to Sunday April 14th and again from October 11th – 13th. Over the two weekends the Young Critics will attend at least four theatre productions, and participate in workshops and discussions, facilitated by the mentors.

In October, the group will meet up in Dublin again to see further productions, take part in more workshops and participate in a public panel event as part of the Dublin Theatre Festival.

In between the two residential weekends, the Young Critics will have the opportunity to see other productions and make critical responses through the use of digital technology.

The Young Critics will be supported by our professional mentors through workshops, tutorials and online support forums.


Applications are now closed.

Participation in the programme is totally free: accommodation, meals, theatre tickets and travel costs are covered by Youth Theatre Ireland.

It is open to youth theatre members who will be aged 16 – 20 by April 1st 2019. We are looking for young people who are comfortable meeting new people, working in a highly focused way and are willing to share their thoughts and opinions with each other. A love of theatre and an enthusiasm for engaging with digital tools are a bonus.

We will provide you with all the skills and tools needed to take part fully in the programme. To be a Young Critic you must be fully available for both weekends. You must also be available to take part in online discussions and see some theatre shows yourself between the two residentials.

Youth Theatre Ireland will have welfare leaders in place on both weekends to ensure the wellbeing and safety of all participants.

In order to offer individual advice and guidance on developing each young person’s critical skills, places on the programme are limited to a maximum of 16.

Please visit the Young Critics Resource Suite for lots of hints and tips on running a Young Critics Programme and creating critical responses. 

Jockey by WillFredd Theatre. Reviewed by NAYD Young Critic Dara Eaton

As the Young Critics hit the stage of the Dublin Theatre Festival  on Oct 4th, we publish the final in our series of summer reviews. Dara Eaton from Carlow Youth Theatre visited the G.B Shaw Theatre in Carlow for the World Premiere of Jockey.

WillFredd Theatre
George Bernard Shaw Theatre, Carlow
Reviewed by Dara Eaton

After hearing great things about WillFredd Theatre’s innovative work, I went to their production of the one-woman show Jockey, made by professional dancer and choreographer Emma O’Kane, with many questions. How much dialogue should I expect? Would the play tell a story, or simply display a variety of impressive dance moves? As a drama critic reviewing a story told through dance, I may have left with even more questions than I had going in.

Emma O'Kane in Jockey by WillFredd Theatre Co.

Emma O’Kane in Jockey by WillFredd Theatre Co.

The show tells the story of O’Kane, who hopes to gain a better understanding of her late grandfather’s passion for horse racing by learning to be a jockey. As the performance progressed, visual effects such as newspaper articles projected onto screens and voice-over samples filled us in on the career of Phillip De Burgh O’Brien, who operated as a writer for a racehorse magazine and as a bloodstock agent, selling horses to jockeys for upcoming events. The story was basic, dwelling more on how certain situations affected the main character than how they altered the world around them. This is something that would normally fascinate me, as I believe the emotions of a character are explored more thoroughly when there is less emphasis on the outside world, and I felt prepared for a powerful display of expression. However, any feelings O’Kane experienced were conveyed through movement alone, an element I am unfamiliar with and that at first seemed intriguing, but eventually became repetitive and predictable. The movement on stage often seemed almost misplaced, without any obvious tie to what the character was experiencing emotionally.

Regardless of these concerns about the choreography, the dancing was spectacularly executed by O’Kane. As it was the production’s world premiere, I went in expecting some hiccups, but each dance number was rehearsed and performed to perfection, which caught the attention of everyone in the audience. The production was quite extraordinary to look at, as a set packed full of screens with constantly changing news articles ensured the viewer was kept alert throughout.

Even these screens had a drawback, though, as the ever-altering text meant that much of the story was lost. Though I admire the innovation, being caught between reading the text and watching the movement left me and the group I went with unaware as to what was going on at times, which drew me out of the experience of the show. I found myself fumbling through the programme in an attempt to understand what exactly I was watching.

Undoubtedly, Jockey left me with mixed emotions and I am of two minds as to whether or not to wholeheartedly recommend this play. Would someone with more interest in physical theatre enjoy this piece more than I did? Or were my observations fair from the perspective of any theatre fan? The only recommendation I can give, is for you to see this play and decide for yourself.

Dara Eaton is a Carlow Youth Theatre and is an NAYD Young Critic for 2015.

The G.B Shaw Theatre kindly supported this event.