Kathleen Mary Fallon’s solemn delivery carried a compassion for her ‘true characters,’ although her omnipresence sacrificed some dynamic range.
On stage between acts, Fallon changed into the costuming of her next subject. Such personal transience between actor and character showed an ability to morph as a vessel for their stories while also emphasising, perhaps detrimentally, her singular perspective as both the play’s writer and only performer.