British character actress Monica Dolan is enjoying an unusually busy week at the Toronto International Film Festival. The veteran performer will be seen in three distinct world premieres, each demanding a different facet of her talent. From a harrowing Irish investigation to a bittersweet comedy-drama about Parkinson’s disease, and finally to a fresh-take on Shakespeare’s tragedy, Dolan’s schedule is a masterclass in versatility.
Investigating a hidden past in The Lost Children of Tuam
In the first of her TIFF outings, Dolan embodies Catherine Corless, the determined historian who uncovered the mass burial of up to 796 children at the Bon Secours Mother-and-Baby Home in Tuam, Ireland. Produced by Liam Neeson and directed by Frank Berry the film is a true-crime drama anchored in painstaking archival work. Dolan recounts spending weeks on Corless’s farm, meeting her husband Aidan, walking the garden she loves, and examining a three-dimensional model of the home that Corless herself built to visualize the tragedy.
“She was incredibly approachable,” Dolan says. “I could ask her anything at any hour – from the minutiae of death-certificate numbers to whether she ever wears jewelry at night.” The actress also noted that a voice recording of Corless proved invaluable, allowing her to hear the subject’s own cadence while traveling to set.
The film debuted at the Galway Film Fleadh in July, where it captured the Best Irish Film award, and now heads to Toronto’s Centerpiece Program on September 13.
Dancing through diagnosis in Onwards and Sideways
The second premiere, John Madden’s Onwards and Sideways pairs Laura Linney with Rhys Ifans as two strangers united by humor, a love of dance, and a fresh Parkinson’s diagnosis. Dolan appears as the sister of Ifans’s character, offering a grounded counterpoint to the film’s tender, off-beat tone.
“The script gave me a chance to explore family dynamics when illness suddenly reshapes everyday life,” Dolan explains. “It’s about the small gestures that become monumental when everything else feels uncertain.” The film’s blend of levity and pathos echoes the festival’s tradition of showcasing stories that balance entertainment with deeper social commentary.
Reimagining royalty in Elsinore
Rounding out the trio is Simon Stone’s Elsinore a contemporary re-interpretation of Shakespeare’s Hamlet. The narrative follows actor Ian Charleson (played by Andrew Scott) who immerses himself in the titular role while battling AIDS. Dolnan contributes a sharp, sarcastic turn as the receptionist at London’s National Theatre, providing comic relief amid the film’s intense emotional currents.
Since its world premiere in Venice, Elsinore has generated awards-season buzz, positioning it as a likely contender for major recognitions later in the year. Dolan’s involvement in such a high-profile ensemble underscores her ability to shift seamlessly between lead and supporting work.
Beyond the festival: a career built on daring choices
While the TIFF spotlight is bright, Dolan’s résumé already spans a striking spectrum of characters. She earned a BAFTA TV Award for portraying serial killer Rosemary West in Appropriate Adult and garnered critical applause for her turn as a post-office manager in ITV’s Mr Bates vs the Post Office. Earlier film credits include the outspoken mother in Pride (2014) and a role in the acclaimed series Wolf Hall.
On stage, the actress secured a 2019 Laurence Olivier Award for Best Supporting Actress as Karen Richards in the West End revival of All About Eve. She attributes her willingness to tackle dark, complex parts to an early fascination with “detective work” – a trait she humorously links to her position as the youngest of four siblings, always needing to “show off” to be heard.
Inside the preparation process
When approaching a real-life figure, Dolan often requests a brief fifteen-minute recorded interview, allowing her to capture the person’s cadence and emotional texture without the pressure of a full-scale sit-down. For fictional roles, she emphasizes behavior over dialogue, saying, “I look first at what the character does, not just what they say.” This methodology helped her navigate the nuanced nervousness of a woman confronting institutional indifference in The Lost Children of Tuam and the quiet resilience of a receptionist in Elsinore.
Regarding accents, Dolan reveals that despite having Irish parents—her mother from Enniscorthy, County Wexford, and her father from Swords, Dublin—her role in the Tuam drama required a West-Ireland dialect, which she mastered with the help of an accent coach named Paul.
In a recent interview with THR Dolan reflected on the logistical challenge of appearing in three films over a single weekend. “I was thrilled when the first two projects landed, and then a quick email added Elsinore. Fortunately, all three screenings are clustered on the same days, so I can attend each without conflict,” she laughed.
Whether leading a film or supporting an ensemble, Dolan insists the core mission remains the same: “Tell the story honestly. In an ensemble, my job is to lift the narrative, not to outshine my colleagues.” Her disciplined focus on storytelling rather than star power continues to earn her respect across cinema, television, and theatre circles.
