Lola Petticrew: ‘Calling it the Troubles minimises what it really was’

Published: 10 November 2025 | The English Chronicle Desk | The English Chronicle Online

Lola Petticrew’s rise in the world of film and television has been fast yet thoughtful, built upon choosing roles that carry emotional and political weight. The Belfast-born actor has already carved a name for themselves as one of Ireland’s most distinctive voices, and their latest project continues to affirm that reputation. Speaking with striking honesty and conviction, Petticrew discusses the importance of telling Irish stories truthfully, particularly those rooted in Northern Ireland’s complex past.

Petticrew’s breakthrough came with their haunting portrayal of Dolours Price, a real-life IRA volunteer, in FX’s Say Nothing—an adaptation of Patrick Radden Keefe’s acclaimed nonfiction book. Their performance earned them both an IFTA award and a BAFTA nomination, solidifying their position as one of Ireland’s brightest emerging talents. The series’ unflinching depiction of the Troubles brought Petticrew into the spotlight, and their portrayal of disillusionment and trauma resonated deeply with viewers.

Now, Petticrew returns to familiar historical terrain in Trespasses, based on Louise Kennedy’s 2022 novel. Set during the height of the Troubles, the drama tells the story of Cushla Lavery, a young Catholic schoolteacher who embarks on a forbidden relationship with a married Protestant barrister, played by Tom Cullen. The series captures not only a tender romance but also the moral complexity of life in a divided society. Anderson stars as Cushla’s mother—glamorous, irreverent, and heartbreakingly human—a role that Petticrew calls “a dream come true.”

Speaking about working alongside Gillian Anderson, Petticrew laughs, recalling Anderson’s effortless mastery of the Belfast accent: “She smashed it to pieces—it’s so tough, and there are some terrible ones out there, but Gillian is phenomenal.”

In Trespasses, Petticrew appears almost unrecognisable—fragile and introspective, embodying Cushla’s quiet resistance and vulnerability. In person, however, Petticrew is magnetic, with jet-black hair, bold silver jewellery, and a collection of tattoos that they describe as “a reminder of who I am beneath all the roles.” They add, “When you spend so much time being other people, it’s nice to feel like me.”

The film also marks an important return to exploring Irish identity through a female and deeply personal lens. Petticrew says, “The Troubles have always been told through a masculine lens, focused on men, soldiers, and politics. Trespasses reframes that history through love, survival, and womanhood.”

Though they were born after the Good Friday Agreement, Petticrew insists that the legacy of that conflict still shapes their life: “It permeates every part of who I am. There’s not enough conversation about the intergenerational trauma that followed. More people have died from suicide since the ceasefire than died during the war.”

Their voice carries both fury and sorrow when discussing the lack of mental health services in Northern Ireland: “There’s an entire generation still living with the fallout, and when the British government refuses to fund the care we need, that’s political violence every single day.”

Petticrew is unflinchingly political, unafraid to call out the language surrounding Northern Ireland’s history. “Calling it the Troubles minimises what it really was,” they argue. “That term suits the British government—it makes it sound like a minor inconvenience across the pond, rather than the brutal war it was.”

Their passion for Irish storytelling is unmistakable. “In drama school, I was so worried I’d never work because of my accent,” they admit. “Now getting to act in that voice feels like a gift. If I only told Irish stories for the rest of my life, I’d be happy.”

Their work spans genres—from politically charged dramas to comedies like Dating Amber (2020) and thrillers like Wolf (2021). Yet, despite their growing fame, Petticrew remains grounded. They laugh at the idea of a Hollywood career: “You’d have to drag me there kicking and screaming!”

Raised in a Catholic family, Petticrew describes themselves as a “recovering Catholic,” inspired by Sinead O’Connor’s fearless defiance. Their experiences growing up queer in a religious environment were challenging but formative: “It definitely felt restrictive, but I had good friends who kept me afloat.”

Coming out as bisexual at a young age was only the beginning of Petticrew’s journey. More recently, they came out as non-binary—an experience that has reshaped their relationship with the film industry. “On set, people are usually great—they’re curious and kind. I don’t mind if people make mistakes as long as they lead with love,” they say. “But it’s still tough; there’s much more work to be done for trans and non-binary people, especially for trans men and women.”

When asked about the ongoing debate surrounding gender-neutral awards categories, Petticrew is open-minded: “I think it would be fantastic. Why not? Recognition is lovely, but it’s not something I dwell on. The work is what matters.”

Despite their growing success, Petticrew still feels a deep connection to their working-class Belfast roots. They recall bringing a small suitcase full of costumes to school as a child, a sign of the actor they would become. “It’s funny,” they reflect, “because as a kid, you know who you are, and adulthood is just finding your way back to that truth.”

As they prepare to return to New York to film Black Widow, a reimagined series inspired by the 1987 film, Petticrew remains focused on their craft rather than fame. “There’s no end goal for me,” they say with a smile. “The best things come as a surprise.”

With their intelligence, warmth, and unwavering dedication to truth in storytelling, Lola Petticrew represents a new generation of artists who challenge the industry to listen, reflect, and evolve. Their voice—both on and off-screen—is a force that refuses to be quieted.