Explosives Factory

Are You There is a humorous, authentic, and unexpectedly tender play set within the bustling, sometimes chaotic office space of an aged care facility. The story follows three women whose lives intersect in ways that are both ordinary and profound. At its centre is Pia, played with grit and vulnerability by Melanie Madrigali. Pia is an overworked, under-supported single mother, stretched thin between the needs of her family and the fragile older adults she protects with fierce devotion. Madrigali balances sharp humour with emotional honesty, showing Pia’s resilience as well as the cracks that form when compassion is stretched too far.

She is joined onstage by two strong performers who bring texture and contrast to the dynamic: Jane Clifton as Colleen, the loud, cheeky, and larger-than-life colleague whose bravado covers her own insecurities, and Rosemary Johns as Lauren, the dementia-affected yet luminous figure whose presence is ethereal and quietly heartbreaking. Johns’ portrayal avoids caricature, offering a delicate, humane look at how memory loss reshapes identity while still leaving room for flashes of wisdom and spirit. 

Playwright Irene Korsten has crafted a script that balances humour and poignancy. Rather than falling back on stereotypes, she gives each character dimension and complexity, inviting audiences to see them as fully realised people rather than mere archetypes. The dialogue flows with a natural rhythm, peppered with wry observations and moments of raw honesty that feel instantly recognisable. Rachel Baring’s direction amplifies this authenticity. The staging feels as though the audience has been invited directly into the staffroom of an aged care home, watching real people negotiate frustrations, laughter, and moments of grace. The pacing is nimble, allowing both comedy and contemplation to breathe.

The interplay between the three characters provides a dynamic ebb and flow of energy. Conversations spiral from workroom banter into unexpected meditations on spirituality, mortality, and family. Particularly striking is Madrigali’s ability to hold the stage even when “acting against no one”. Whether speaking into a phone to patients’ families or to her own child. These moments showcase her precision as a performer and highlight the isolation of carers who are often pulled in many directions at once.

What gives Are You There its staying power is not just its humour or characterisation, but its resonance. The show nudges the audience to consider their own connections to family, community, and the people who quietly sustain both. In its gentle way, it encourages gratitude for those who care, often without thanks, and for the fragile bonds of connection that give life meaning. Walking away, I found myself reflecting on my own relationships and the small yet profound ways we hold each other up.

This is a sweet, sensitive, and deeply human play. One that laughs at the absurdities of life in an aged care office while reminding us that connection is what ultimately keeps us grounded. Are You There is proof that sometimes the most ordinary settings yield the most extraordinary truths.

To book tickets to Are You There?, please visit https://www.theatreworks.org.au/2025/are-you-there.

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