The Rep Presents: The Other Place

The Other Place

The Other Place Rating

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Sponsored by Dementia Australia, the Adelaide Repertory Theatre’s production of ‘The Other Place’ by Sharr White portrays an emotional journey of the impact this disease can have on the surrounding people. As Dr Juliana Smithton struggles to accept her ‘medical episode’ and unexpected diagnosis, the people around her attempt to adapt and cope with her changing moods, sudden accusations, and large gaps in memory. Told entirely from Juliana’s perspective, the unreliable narration of the play leaves the audience wondering which moments were real and which were her deluded imaginings to make sense of her reality.

Robyn Brookes performance as Juliana is consistent, not leaving the stage from the very beginning of the one act play. Brookes shows great range as her character begins calmly and almost flatly, transitioning to cruel and cocky, before plummeting to desperate vulnerability, and finishing with quiet acceptance.

Jules’ devoted husband Ian, played by Scott Nell, displays a few beautiful moments of heartbreaking desperation as he tries to reason with his wife. However, there are times where an overuse of hand gestures and melodramatic tone hint to a lack of chemistry in this partnership. Brendan Cooney plays multiple minor characters as Man, reliably supporting his castmates with his solid stage presence and delightful diversity of characterisation. From the technician at Juliana’s presentation, to her disgraced post-Doc student, to her doctor, Cooney’s timing was great to watch.

The standout performance must go to Tegan Gully-Crispe, who plays Woman, mastering a variety of characters including the Doctor, Juliana’s daughter Laurel, and the woman who now owns the other place. From her consistency and diversity in American accents, Gully-Crispe exuded a centeredness from within each of her characters that suspended disbelief, allowing the cool professionalism and warm empathy to come from the same person.

The stark minimalism of the set, reminiscent of National Theatre Live in the UK, gave way to quick changes in location within seconds, the main pieces being a rolling chair and a couple of stagnant benches on either side of the stage. White windows intersected to cut off the back of the stage to create a more enclosed space and to bring the actors closer downstage. While this was assisted with the occasional change in lighting for diversity in ambience, the back windows were underutilised in their capacity to deepen the space within some of the more isolating and projected scenes.

Basic lighting was used to imply a change in time and place, but could have also been used to more clearly differentiate the transitions between moments of reality, delusions, the past, and narration. Ominous sound cues were used initially to help those transitions, but they weren’t consistent throughout the play. Costumes were simple yet captured the essence of each character without being unnecessarily complicated. Head microphones were also used by each of the actors instead of projecting vocally.

David Sinclair’s gentle direction of this sensitive topic allows the character-driven story to highlight the fallibility of humanity and the need to support each other. While slow to start, it grows in both strength and vulnerability, encouraging the audience to reflect upon the direct and indirect impact of dementia. If you’re in the mood for some thoughtful theatre as we move into the cooler months, come along to see this beautifully bittersweet performance.

To book tickets to The Other Place, please visit https://adelaiderep.com/season-2025/the-other-place.

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About The Production – The Other Place

The Other Place

The Adelaide Repertory Theatre is getting ready to dive into the enigmatic world of “The Other Place!” and invites you to join in on the journey.

This emotionally charged theatre production tells a tale of loss amidst human complexity. During an About The Production discussion with The Rep, we discussed what to expect.

About The Other Place

What is this Production about?

“The Other Place” is a gripping and emotionally charged play that explores themes of memory, loss, and the complexities of the human mind. The narrative follows Dr Juliana Smithton, a brilliant neurologist whose life begins to unravel in unexpected ways, taking the audience on an enigmatic journey.

What’s challenging about bringing this script to life?

It is a very emotionally charged story, which makes for a very challenging production from many different perspectives involving cast and crew.

What will the audience think about in the car as they drive home after this show?

The play has many deep themes that are all relatable to the human condition in all of us.

Is there anything else you’d like to add?

SPECIAL EVENT: Following each matinee performance, we are hosting an exclusive Q&A session featuring the Director, cast, and advocates from Dementia Australia. These advocates specialise in providing services and support for those living with Dementia and other cognitive health challenges.

This event offers a unique opportunity for families, friends, and colleagues of individuals with Dementia to engage, learn, and connect with experts in the field. Don’t miss this insightful and meaningful discussion.

Where can patrons purchase tickets to this production?

The Other Place runs from 24th Apr – 27th Apr and 30th Apr – 3rd May. To book tickets to The Other Place, please visit https://artstheatresa.sales.ticketsearch.com/sales/salesevent/142694.

Thu 24 Apr at 7:30pm (opening night)
Fri 25 Apr at 7:30pm
Sat 26 Apr at 7:30pm
Sun 27 Apr at 3:00pm (Sunday matinee)
Wed 30 Apr at 7:30pm
Thu 1 May at 7:30pm
Fri 2 May at 7:30pm
Sat 3 May at 3:00pm (Saturday matinee)

Thank you so much for sharing insight into “The Other Place.” Your dedication to exploring such poignant themes is inspiring, and we wish you all the best for the performances. Break a leg!

Other production interviews can be viewed here in our About The Production Series.

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Mother and Son – A Heartfelt and Hilarious Look at Aging and Family

Mother and Son The Rep

Mother and Son The Rep Rating

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The Adelaide Repertory Theatre’s Mother and Son delivers a perfect blend of humor and heart, offering a touching yet funny exploration of the challenges that dementia brings to a family. Based on Geoffrey Atherden’s iconic 1980s TV series, this stage adaptation shifts the story into a contemporary setting, where aging mother Maggie (Penni Hamilton-Smith) and her devoted son Arthur (Patrick Clements) navigate the ups and downs of memory loss, family dynamics, and caregiving.

Penni Hamilton-Smith’s portrayal of Maggie is a standout—funny, vulnerable, very expressive and incredibly warm. Despite her memory lapses and confusion, Maggie’s wit and charm shine through, and by the end of the play, the audience is utterly captivated by her. Hamilton-Smith’s performance builds a deep emotional connection with the audience, a true testament to her skill in drawing the crowd in.

Arthur, played by Patrick Clements, is the long-suffering son who takes on the role of caregiver, torn between his duties to his mother and his desire to live his own life. The contrasting personalities of the two Beare brothers—Arthur, the reliable but exasperated caretaker, and Robert (Stephen Bills), the successful but largely absent dentist—add another layer of complexity to the family dynamic. The family’s comedic mishaps, from Robert’s dubious life choices to Maggie’s comically excessive admiration for him, provide plenty of laughs, but also bring attention to deeper issues of responsibility, loyalty and family dynamics.

The modernised setting introduces relatable elements—mobile phones, telemarketing, and video calls—that add a fresh twist to the play. Video interactions with the Beare family’s grandchildren, projected on a large screen, reflect the generational divide and give a humorous yet poignant glimpse into everyday family life. These technological touches also highlight the growing gap between the older and younger generations, amplifying the play’s themes of communication, disconnection, and change.

The supporting cast delivers equally strong performances, with notable appearances by Mollie Mooney as Anita, Arthur’s romantic interest, and Jessica Corrie as an Aged Care Assessor. Sandy Whitelaw’s cameo as Monica, a no-nonsense resident in an aged care home, is a hilarious high point that underscores the play’s deft handling of both humour and pathos.

Under the direction of Jude Hines, Mother and Son expertly balances light hearted moments with poignant reflections on aging, care, and family obligations. While the play provides plenty of laughs—often at the expense of Maggie’s confusion or the absurdities of caregiving—it also offers a deeply human portrayal of the emotional toll dementia takes on families. The audience is left with much to reflect on, from the fear of loneliness and institutionalisation to the everyday struggles of maintaining family bonds.

The set design cleverly evokes the atmosphere of a family home and the production’s contemporary touches, including the use of technology, ensure that Mother and Son feels fresh and relevant while staying true to the spirit of the original show.

In the end, this is a play that’s as much about the heart as it is about the laughs. With its excellent performances, sharp humour, and emotional depth, Mother and Son is a beautifully executed exploration of the challenges of family life, caregiving, and growing old. Whether you’re a fan of the original television series or coming to the story for the first time, this production is sure to leave you both laughing and thinking long after the final curtain.

To book tickets to Mother and Son, please visit https://adelaiderep.com/season-2024/mother-son

Remaining Shows
Thu 28 Nov at 7:30pm
Fri 29 Nov at 7:30pm
Sat 30 Nov at 2:00pm
Sat 30 Nov at 7:30pm

Photography by Richard Parkhill

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Nana’s Naughty Knickers – Naughty Good Fun

Nanas Naughty Knickers

Nana’s Naughty Knickers Rating

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Hubby and I rode our scooter to our local theatre, The Arts Theatre on Angas Street, Adelaide, to see Nana’s Naughty Knickers.

What happens when Bridget and her lively grandmother become roommates?

Bridget saw a unique opportunity to stay with her favourite nana in New York for the summer. She found her running an illegal boutique from her rent-controlled apartment, selling handmade lingerie to all the senior citizens of the precinct.

Will Nana get arrested or, even worse, evicted?

Adelaide ‘theatre royalty’ Cast:-

Penni Hamilton Smith – Sylvia
Chris Galipo – Vera, Sylvia’s side-kick
Kayla Cranfield – Sylvia’s innocent grand-daughter, Bridget
Clinton Nitschke – Tom, the lovelorn police officer
Frank Cwiertniak – the owner of the apartment block, Mr Schmidt
Monique Millar – dominatrix Heather Van Pree
Therese Hornby – Mr Schmidt’s wife, Clair
Marcus Catt – the UPS delivery guy

A Katherine DiSacino play directed by Barry Hill, this piece has enough silliness to make you laugh out loud (even when you don’t want to) and forget your own troubles for just a little while.

At first, the American accents might catch you off guard, but as you become familiar with the quirky characters, they quickly become an endearing part of the experience.

The standout performance for me was Chris Galipo’s performance as the deaf, mobility-impaired best friend Vera, who had some of the best lines and delivered them to perfection. Also, Marcus Catt’s performance as the delivery guy had only a small part but made a fabulous impact.

It is a silly, uncomplicated play with quite a few plot flaws and unlikely characters. All is soon forgiven, as you find yourself just enjoying the simple pleasure of watching the actors revelling in their roles, just to make you laugh. And laugh we did, many times, the crowd broke out into spontaneous, joyous and sometimes guilty giggles.

The set design is quite simple but contains some very clever moving parts to hide the secret stash of merchandise. I personally would have preferred the ‘naughty knickers’ to be sexier to match the title of the show, but that’s me, and I do think the cast could have pulled it off.

Get out when you can, support local artists, and you’ll definitely have some fun!!

For Tickets:-

https://adelaiderep.com

Season: 22 – 25 August & 29 – 31 August

Remaining Sessions

  • Thu 29 Aug at 7:30pm
  • Fri 30 Aug at 7:30pm
  • Sat 31 Aug at 2:00pm (Saturday Matinee)
  • Sat 31 Aug at 7:30pm
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