Get ready to be captivated by a theatrical journey like no other—Dublin Gothic is here to challenge everything you thought you knew about Irish history. But here’s where it gets controversial: What if the real story of Dublin isn’t found in its triumphs, but in its quiet losses and untold secrets? Playwright Barbara Bergin dares to explore this very idea in her epic new work, spanning a century of life in Ireland’s capital. With a cast of 20 actors, this isn’t just a play—it’s a sweeping saga of missed opportunities, hidden truths, and the resilience of everyday people. And this is the part most people miss: the story wasn’t always meant for the stage. It began as a TV series, then a radio script, and even lingered in Bergin’s drawer for years, waiting for its moment. Bold claim? Time itself is a character in this play, shaping its creation and mirroring the struggles of its protagonists.
Bergin’s journey to bring Dublin Gothic to life is as dramatic as the story it tells. Over 15 years ago, she felt compelled to write a ‘loser’s history’—an unconventional epic that celebrates the overlooked moments and shadowy corners of Dublin. As she began, characters flooded her imagination, each demanding their place in the narrative. But the path to the Abbey Theatre was anything but straightforward. From rejected TV and radio pitches to a 158-character brainstorm, Bergin admits she felt like the biggest ‘loser’ in the process. Yet, the story refused to let her go, simmering in the background until it finally found its true home—theatre. Here’s the twist: The delays, setbacks, and even the global pause of the pandemic became integral to the play’s essence, mirroring its themes of perseverance and reinvention.
Enter Jesse Weaver, the Abbey’s dramaturg, who saw potential in Bergin’s half-formed idea and championed its development. Graham McLaren’s unwavering enthusiasm, Louise Stephens’ insightful guidance, and the risk-taking vision of Artistic Director Caitríona McLaughlin were the catalysts that transformed a sprawling narrative into a cohesive play. And then there’s director Caroline Byrne, the ‘Maestra’ whose visionary leadership and creative rigor brought the story to life with breathtaking inventiveness. But here’s the question: Is Dublin Gothic a celebration of survival, or a haunting reminder of what we leave behind? Bergin calls it a tribute to the most creative act of all—getting up and facing the world, no matter the odds.
As the curtain rises on this world premiere, Bergin invites you to climb aboard and join the ‘losers’ who steer the ship. Will you find yourself in their stories? Will you see Dublin—and perhaps your own life—in a new light? The stage is set, the characters are waiting, and the controversy is simmering. What’s your take? Let’s discuss in the comments. Dublin Gothic runs at the Abbey Theatre from November 22, 2025, to January 31, 2026. Don’t miss it—this is theatre that dares to ask the hard questions and celebrate the beauty in the broken.
