Trudy Nolan and Caitlin Connolly in "That's Soo Povo."Izzy Hamilton.
In "That’s Soo Povo," two novice drama students, Chantelle (Caithin Connolly) and Craoí (Trudy Nolan), are paired during their first university drama class.
Both come from working-class backgrounds and struggle to find their footing in the new college environment. As Chantelle explains: “I grew up not knowing I was working class…what child would?”
Chantelle is more reserved, “I have to be quite guarded,” while Craoí is boisterous and seemingly confident.
"My first experience with the arts made me rethink how people perceive me. I was told I was too loud, so I became a bit more quiet. But that didn't stop them from only casting me as the loud and proud youngones.”
Both voice insecurities as they begin new chapters in their lives, ultimately arriving in the same place—Doubtsville.
Magically appearing to guide them on their journeys is a fairy godmother: Queen Povo (Sophie O’Toole). (This is a drag show.) The “gentrified Queenie” of Dublin helps the students confront their anxieties and encourages self-acceptance.
Queen Povo is brimming with self-confidence, delivering her insights loudly and proudly: “My royal title is Queen Povo. Queen for Queen and Povo for Poverty, and what about it?” “Every D in Dublin that has a lady on the rock in their window, I’m there.” “The lady on the rock becomes our working-class hero.”
Sophie O'Toole and Caitlin Connolly in "That's Soo Povo." (Izzy Hamilton)
The play’s “coming-of-confidence” arc explores factors shaping the students’ insecurities—class, family, opportunity, and peer pressure. The scope broadens to examine family expectations, working-class ethos, and self-image. Even Juicy Couture becomes more than just fashion. A lot unfolds within the 60-minute performance, Queen Povo keeps the story anchored, delightfully guiding the way—with help from Beyoncé.
The script, co-written by O’Toole and Nolan, is steeped in Irish references. Molly Malone appears among many, and Sean O’Casey’s "The Plough and the Stars" is name-checked as an example of working-class life on stage: “He put us on stage. The way it should be.” A scene from the play provides Chantelle and Craoí a chance to showcase their growing talents and embrace their true selves unabashedly.
O’Toole and Nolan’s decision to cast their characters as first-year drama students pays off. As their relationship develops, so too do their performances. Their tentative start reflects their insecurities, but Connolly and Nolan gradually build to a confident and powerful close. As Queen Povo challenges them, their talent and confidence blossom: “I am your hopes and dreams but also your fear. Maybe I’m what you really are or who you want to be. Maybe you’re scared I am what they think we are, or who they make us out to be.”
The play closes with Queen Povo invoking another Irish champion of individuality—Yeats—through a recital of The Lake Isle of Innisfree.
The Queen celebrates Craoí and Chantelle home. Up Dublin!
"That’s Soo Povo" was presented as part of the Eire Defining chapter of the Dublin Fringe Festival at Bewley’s Cafe Theater.