Writer & Director: Ezra Maloney
Two hospital beds divided by a screen provide the focal point of the stage as Pre-Ops begins. Two bodies lie on the beds, both in identical hospital garb and both we learn are awaiting hysterectomy surgery; here the similarities end, or do they? Fiachra (Ianto Lynch), a transgender man, is the more vocal of the two initially, making conversational advances to the woman behind the screen. Helen (Molly Whelan) is surprised to hear a man’s voice in this space and does not welcome Fiachra’s initiative; she immediately makes assumptions about Fiachra’s life choices, proudly declaring that she comes from an informed place as she reads the Guardian.
Coincidentally Fiachra happens to be attempting the Guardian crossword to help with the nerves and this commonality is used to provide a unifying and humorous relief from the more intense dialogue batted back and forth over the dividing screen. Admirably, Pre-Ops does not provide the audience with hero and anti-hero, the push and pull of Fiachra and Helen’s discussion – which becomes heated on occasion – allows both characters opportunities to fall into the trap of making assumptions and ‘othering’ their fellow patient while equally both take advantage of the higher moral ground when it presents. Both characters are well written: Fiachra uses humour to keep the conversation on a lighter note (“You’ve never met someone like me before? You mean an Irish person?”) but the humorous mask slips at times and a more vulnerable defensive side reveals itself. Helen could be played as a cliché, an angry exclusionist person with emotional baggage weighing her down and rendering her intolerant but she too has suffered from discrimination and dismissal. Both actors inhabit the characters with commitment and believability, we can relate to their sincerity if not always their words. A third actor plays a nurse who provides some technical information on hysterectomy procedures – which is perhaps not essential for the play’s integrity – as well as dishing out some no nonsense advice to the patients.
The theme of acceptance and tolerance versus bigotry and resistance to difference ebbs and flows throughout the play’s hour-long performance and tentative movements are made towards pushing back the literal screen to come face to face with each other. Perhaps this is a step too far and each must stay in their separate worlds? Pre-Ops is thought-provoking and gently provocative, although at times a lack of dramatic tension allows the dialogue to dip in potency: even in its more intense moments it never screams or shouts, rather it makes a case for open minds as it highlights our shared and imperfect humanity.
Reviewed 10th May 2025.
