Writer & Director: Ois O’Donoghue
Ois O’Donoghue returns to the Dublin Fringe this year with SUPLEX, taking over the Black Box in the Smock Alley for a five night run. The 70 minute play follows Danu (Saoirse Fitzpatrick), as she tries to break into the world of Irish Wrestling, and wrestles with her own relationship with the sporting world post transition. Coached by Fiachra (John Maher), pitted against Billie (Leanne Bickerdike), and haunted by The Man in the Masc (Ruairí Nicholl), Danu finds herself unwittingly cast as the heel in the ultimate showdown between cis and trans women.
The characters have depth but there seems to be maybe a bit too much to be tackled in such a short space of time; Danu’s relationship with her brother, we well as his place in the wrestling scene and implied but unexplored death, Billie’s experience of attempted assault in her sporting past, even Fiachra’s injury and motivations, all of these things are touched on but then brushed past as the story moves quickly through time and topic to get to the final round in the ring. Bickerdike brings a brusque toughness to Billie, but allows enough vulnerability to shine through that she never fully seems the villain you might assume her to be. Nicholl is arresting as The Man in the Masc, the loudest and brashest person on the stage at any time, exuding a promise of threat throughout; it would have been great to have a few more moments with him unmasked at the end. Fitzpatrick is very likeable in the role of Danu, but a little tentative at times; the close scenes that she shares with Maher and Bickerdike are the most vulnerable of the piece, and show real heart. Maher himself straddles the ambiguity of his character well, and is convincingly torn between selling a story and telling the truth.
In terms of production, there are some great highs overall. Archer Bradshaw utilises the lighting nicely in the small space, creating intimate moments between characters and then bringing up the razzle dazzle of the performance scenes. Jodie Doyle’s costumes and Izzy Hamilton’s set are wonderful – the ring looks great, and is utilised so well, and as the characters move from practice sessions to final match the outfits transform with them. Unfortunately the sound has some issues, though whether that is due to some first night hiccoughs remains to be seen.
Conceptually O’Donoghue has played a blinder here; the world of wrestling is such an interesting space to explore the themes that she’s touching on in SUPLEX. The trans community has been under fire for the last few years in a depressingly regressive way, and the topic of trans people, but specifically trans women, in the sporting world is both complex and deeply relevant. Danu’s desire to find her space in sports again post transition is simply a human desire that should feel close to the bone for almost anyone in the audience; that yearning to feel accepted and to rediscover a feeling of community and safety. Billie’s explanation of her initial distrust and distaste allows for a similar humanisation; she’s not a bad person, she’s someone who fell down the rabbit hole while in a particularly vulnerable place herself. There’s a camp glamour to wrestling that means that it should feel like a safe space for anyone to take part in, but a story like this shows us that, sadly, prejudice and ignorance prevail in most areas, especially now.
Much to be recommended with SUPLEX, and a few nights left to catch it during this run!
Runs Until Sept 11th 2026.
