Written by Eva O’Connor

Directed by Jim Culleton

Review by Dominic Corr

Traverse Theatre

Cut For Dolores right down the middle, and it bleeds love. It bleeds agony and chaos. It bleeds brine and bucky.

And its ability to do this is facilitated by Catriona Faint and Lara McDonnell, in performances which emerge at the production’s most crucial hinges, not as roles, but as manifestations of Eva O’Connor’s devastatingly human piece. Finding a piece of new writing that hits with the force of an emotional freight train is a rare luxury; plenty can hit emotional beats. Some may even shed tears, but this is something special. Fishamble’s latest delivers precisely that kind of visceral jolt expected from writer O’Connor and brought to life under the steady, incisive direction of Jim Culleton, standing out as a triumph of storytelling.

This could be, and likely is, your story. Minus a few details, sidestepping a couple of avenues untaken. The play follows the tumultuous evolution of a relationship forged during university days between a Glaswegian woman, Mo, and a softer, middle-class Dubliner, Réaltín. Structured around Alyson Cummins’ effectively clean (minus the trickles and bursts of their student-day mess beneath), it is a pseudo-counselling framework that fractures chronological order, the narrative hurtles through time to explore how intimate bonds fracture under the weight of addiction, betrayal, sudden tragedy, and the biggest bitch of them all; love. It is an uncompromisingly raw, beautifully chaotic investigation of guilt, grief, and the agonising pursuit of redemption that keeps the audience in an iron grip throughout.

Navigating a script that leaps unpredictably across timelines demands two actors capable of absolute physical and emotional commitment. Faint turns in an electrifying performance as the combative, fiercely defensive Glaswegian half of the central pair, commanding the stage with a fiery, unpredictable intensity that masks a deep reserve of pain which, once uncorked, is resonating in it’s vulnerability and authenticity. Opposite, McDonnell provides a mesmerising counterweight as Réaltín, charting a subtle, heartbreaking journey from an eager-to-please student to a woman wrestling with the heavy burdens of adult responsibility; all while a confident force in their own right; the captivation of so many affections, and a spirited catalyst for the show’s dramatic elements. The magnetic chemistry between the two leads ensures that every unspoken glance, subtle shift in posture, and furious exchange carries maximum weight, creating a compelling portrait of an inescapable codependency.

Orchestrating this intricate web of memory and emotion requires a staging approach that allows the central dynamic room to breathe without sacrificing theatrical momentum. Cummins designs a deceptively minimalist set that acts as a physical metaphor for suppressed history, cleverly anchoring the action while leaving space for fluid temporal shifts, which Faint and McDonnell utilise in a balanced manner. This visual environment is heightened by Suzie Cummins lighting design, which shifts seamlessly to match the changing emotional temperatures of the piece, from quiet moments of pained intimacy to sudden bursts of manic energy, and when coupled with Nóra Ní Anluain Fay’s dynamic movement direction, the staging ensures that physical motion feels like a natural extension of the characters internal conflict.

Maintaining control over such a volatile narrative is a delicate balance, yet the direction keeps the piece moving at an breathless pace, but this is never a ‘sit back and watch show’, as the pulse and attention are gripped. Jim Culleton manages the non-linear structure with great dexterity, smoothing over abrupt narrative jumps by ensuring the emotional truth of each moment remains paramount. Even when the script skirts close to familiar grounds of class friction or melodramatic plot twists, the authenticity of the staging elevates the material far above standard theatrical conventions. The production allows moments of quiet, tender tragedy to sit directly alongside furious arguments, trusting the audience to embrace the messy reality of these deeply flawed, human figures.

Reconciling the devastating costs of past mistakes with the necessity of moving forward is a universal struggle, and this extraordinary production captures that fight with unmatched power and humour. While the narrative structure demands complete focus, the reward is a piece of theatre that feels utterly vital, deeply empathetic, and thoroughly unforgettable. For Dolores stands as a testament to the transformative power of brilliant new writing lifted by being performed at the highest level, leaving an indelible mark on all who witness it; a messy, excitingly unpredictable, and a glorious therapy on imperfections.

---