The cast of Hotel Sorrento. Photo via Riverside Theatres, Parramatta.
Under the assured direction of Denny Lawrence, for Christine Harris and HIT productions, and with a tremendous cast, Hannie Rayson’s award winning play which inspired the film of the same name has been given a gentle, lyrical revival that reveals the volcanic intensity underneath.
Premiering in 1991, Hotel Sorrento might perhaps at first appear somewhat dated – with no internet and no mobile phones – but the issues raised of intense family relationships and hidden secrets; the “cultural cringe”; xenophobia, and how expats and artists are treated in Australia still resonates vibrantly today. Do Australians care about artists and their work? This play indicates that they don’t, which carries with it a somewhat of a Chekovian feel.
Hotel Sorrento revolves around the three Moynihan sisters. We meet author Meg (Kim Denman) who has not returned to the family home since moving to London ten years ago. Her novel Melancholy, depicting life in a small Australian seaside town has just been nominated for the Booker Prize. We learn that Melancholy is quite heavily autobiographical, thinly disguised as fiction.
Sister Pippa (Joanne Booth) is an advertising executive who’s been working in New York for some years now and has returned as Aussie liaison for her company.
The eldest daughter, Hilary (Ruth Caro) works in a local café and hasn’t left Sorrento. Following her husband Gary’s death in a car accident, she looks after their father, widower Wal (Dennis Coard) in the family home with her teenage son Troy (Saxon Gray).
Pippa and Meg are forced to ponder what their adventures overseas have led to, what it means to be Australian, and do they return to permanently live in Australia again? Meg’s feelings are explored. As an outsider she arrives back in Sorrento insisting that nothing has changed in the ten years that she has been living in London.
Joanne Booth and Ruth Caro in Hotel Sorrento. Photo via Riverside Theatres, Parramatta.
Hilary is the sister regarded by all as the responsible one who staunchly copes without complaint, who is always a rock of support, who will sacrifice her life for the other members of her family. Sometimes hidden bitterness erupts as she wonders when it will be her turn to explore and have adventures. Pippa pleads with Marge to encourage Hilary to break away and find herself. Teenage Troy, quiet and intelligent is sensitively portrayed by Saxon Gray.
Wal, delightfully portrayed by Denis Coard, is shown as caring, enthusiastic and still vibrant and energetic although possibly getting a little creaky in the joints.
We also encounter Marge, a teacher, artist and avid reader (Jenny Seedsman) who owns a weekender in Sorrento. Marge reads Meg’s novel and realises that the town in the novel is Sorrento. Her former colleague, now a journalist for a small local paper, Dick (Mike Smith), is visiting her and becomes involved as well.
There are musing by the various characters – particularly Edwin, Meg, Marge and Dick – about Australia’s reaction to its art and artists, and their responses to Australian culture. Heated conversation explodes at times as the various characters attempt to discuss this touchy issue.
Adrienne Chisolm’s set divides the small Lennox Theatre stage at Riverside Theatres into three for Act 1 and then into two for Act 2: the family house (the “Hotel Sorrento” of the title), the wharf jetty, and (for Act 1) Meg and Edwin’s London flat. There are many swift and fluid scene changes which utalise Shane Grant’s evocative lighting magnificently.
Hotel Sorrento is an intimate, lyrical yet at times tense production of this great Australian play that raises issues we still need to consider.
Rating: 4 stars ★★★★
Hotel Sorrento
Playwright HANNIE RAYSON
Producer CHRISTINE HARRIS
Director DENNY LAWRENCE
Set ADRIENNE CHISOLM
Costumes SOPHIE WOODWARD
Lighting SHANE GRANT
31 July – 04 August 2018
Lennox Theatre, Riverside Theatres, Parramatta
