Writer: Liath Hannon
Director: Ois O’Donoghue
Liath Hannon’s first play, The Dolldrums, in which she is the main performer, is an impressive, intriguing exploration of trans identity in relation to idealised, hypersexual male fantasies of women. Blunt, personal, effective, and sincere in its excavation of its theme, this is an exciting work, albeit one that could use some tuning up.
Hannon’s protagonist, Lily, describes her early sexual experiences, which inevitably turn humiliating and traumatic when it is discovered that she had been born male. Even her transition, which involves a leery physical examination, is cast in this sexual, fetishised light. This scene also highlights Hannon’s easy sense of humour, as she lies on the platform clumsily acting out the examination with two dolls. This is something she could have leaned into more, as she displays more comfort while acting than she does when delivering a monologue to the audience.
The root of the play is Lily’s relationship to her gender identity. Scarred by the abuse and rejection of her early experiences, she leans into this exaggerated, permanently available version of female sexuality. The option to perform in this way is enhanced by her early ability to pass, but what Hannon subtly and skilfully does is explore the ambiguities produced by this. Passing is theoretically the ideal, but does it automatically produce happiness? Early on she describes herself as “in thrall to normality”, the meaning of which changes throughout – from “normal” referring to the aspiration to be a straight teenage girl who is allowed to speak and behave like her contemporaries to her throwing herself into a heteronormative, male-centric, and self-hating version of femininity.
The flaws are relatively small, and typically it’s because we want to see more of something that is already being done. Hannon – star of recent indie film Girls & Boys – is an engaging performer, but does better with someone on stage with her. Some ideas are left undercooked, but it’s hard to know why, as Hannon has a lot to say, and says it well.
Sophie Cassidy’s lighting is haunting and evocative, building atmosphere across different times, rooms, and countries with ease. This is blended expertly with Jodie Doyle’s set design, the main feature of which was a large, shockingly red platform. Ruairí Nicholl is the sole male performer, occupying various roles, typically while wearing a mask that matches the platform. Overall, it is another success for Jaxbanded and Ois O’Donoghue, who continue to push boundaries and expand the horizon of Dublin theatre.
Runs Until 8th Nov 2025.
