Review: Thoughtful ‘Dolores’ at Hollywood Fringe Festival
- Dondre Tuck
- 15 hours ago
- 2 min read
Having just completed its Hollywood Fringe Festival run, “Dolores” by Edward Allen Baker and directed by Stephanie Feury is an intimate and distressing one-act play set during a winter night in 1985 in Providence, Rhode Island.
Sandra, winding down her evening chores, is interrupted by older sister Dolores pounding on the door, desperate and terrified, claiming her husband is trying to kill her. What follows is a layered exploration of domestic abuse, trauma and the complicated bond between siblings who respond to violence in different ways.
Both performances during this run were outstanding. Deedee Woche as Sandra anchored the play with a grounded presence and with active listening that made her character feel fully realized. Davonna Dehay brought Dolores to life with striking intensity and vulnerability, particularly during a moving monologue about aging and her desire to start a family. The chemistry between the two was emotional, especially in moments of prolonged eye contact that conveyed volumes of unspoken history and hurt.
Stephanie Feury’s direction was dense and immersive. Though the play runs just 45 minutes, it felt expansive in its emotional depth, as if time slowed to let the audience fully absorb each moment. The blocking was natural and intimate, creating the sensation of peering through a window at private lives. The final scene — Dolores seated as Susan stands behind her fixing her hair, both staring into the living room — was a haunting, memorable closing image.
Visually, the production was special. Matthew Brown’s set design was among the most detailed I’ve seen at this year’s Fringe Festival. Every element, from the fully dressed couch to the handyman tools and folded mattress, contributed to the lived-in realism and suggested the wear and fatigue of the characters’ lives.
Lighting design, with warm oranges and cool blues, effectively represented the play’s shifting moods and underscored the tension and moments of fleeting tenderness. Costumes were period-appropriate and complimented the personalities of each character. Sound was used sparingly but purposefully, with two moments of music — once as Susan celebrated completing her chores with a cupcake and again in the final scene.
Thematically, “Dolores” grapples with the deceptive nature of domestic violence and the ways individuals rationalize or resist it. While Dolores tries to stand up for herself only to be drawn back into toxicity, Susan opts for quiet endurance, each thus coping in their own flawed way. The play asks audiences to consider how denial and complicity can keep cycles of abuse alive and how the trauma of such experiences can shape self-perception.
The audience was engaged and responsive throughout a final weekend performance. The production is a thoughtful, well-acted and resonant experience I would highly recommend, especially to those who appreciate character-driven theatre. My only suggestion would be for the performers to continue deepening their exploration of backstory and shared history to bring even more dimension to these already compelling roles.
“Dolores” performed at the Hollywood Film Festival during June 2025 at the Stephanie Feury Studio Theatre, 5636 Melrose Ave., Los Angeles.