A delightful new play with originality stamped all over it, Welcome Home concerns two women who each believe they own the same house. Joyce (Julie Arnold) is elderly. She has just returned to the home her father built, having spent several months in hospital and rehab after a fall, only to find the place considerably changed.
Gone are the marigold yellow walls. In their place, a drab grey. More to the point, there is a new couch, sans the cushions with which she is familiar and a talking fridge (Sam Wyles), which she can’t operate. On the floor is a robot vacuum cleaner that she beats to a pulp, while outside a peppercorn tree that provided shade has been uprooted. Understandably, Joyce has no idea what has happened.
In walks young architect Ceily (Elise Moorhouse), only to confront this woman she has never met in the house she recently purchased. Ceily is in no mood to play games. It is Friday night and she is under pressure to complete a disability project over the weekend. On her plate is plenty of work. In no uncertain terms, she orders that Joyce leave immediately, but Joyce is having none of it, so Ceily calls the police.
Enter, a kindly member of the constabulary, Nick (Mark Tregonning), who tries to unravel what has gone down here. As we come to understand that Joyce, a former nurse, was married to a Vietnam veteran badly injured and traumatised by war, Nick finds Joyce temporary shelter. That is when Joyce’s next door neighbour, George (also Mark Tregonning), a high-flying lawyer, whose wife does the shopping for Joyce, comes along. He is determined to get to the bottom of the unfortunate situation in which Joyce finds herself. As it turns out, that also involves Joyce’s beloved son, Alexander (who we don’t meet), who can’t be contacted.
Written and produced by Meg McNena, I loved the fact that at every turn she introduces new elements into the script that, in time, helps build the full picture. This drip feed approach, which also keeps the narrative moving, works beautifully, as we learn that there is much more to Joyce than at first meets the eye. Although she certainly has fond memories of the good old days, she isn’t off with the pixies. In fact, despite her optimism, she hasn’t led an easy life. Ceily’s life, too, is far from picture perfect.
Punctuated with good humour and tenderness, Welcome Home is inviting, engaging and entertaining. From her opening salvo, Julie Arnold creates her character, Joyce – a woman used to dealing with obstacles – in fine style. She is excellent as the giving, caring and intent backbone of the piece. As Ceily, Elise Moorhouse is dogmatic and determined. In fact, she is spot-on as Joyce’s no-nonsense counterpoint, who mellows when she learns the truth. Mark Tregonning brings a big empathetic heart to his dual roles, while Sam Wyles’ deliberately exaggerated appeals and facial expressions as the fridge are hilarious. He also plays smaller parts as a nurse in the respite home in which Joyce finds herself and as Joyce’s loving and then angry husband, David.
The simple, but effective colourful set design – including props – catches your eye the moment you enter the theatre. The work of Lisa McVilly, it is a beauty. Director Karen Wakeham imbues heart into a far-fetched, but relatable story in which humanity and technology are front and centre. Welcome Home is on at Chapel Off Chapel until 28th June, 2025.
Alex First
Other reviews you might enjoy:
- Travesties (Bloomsday in Melbourne) – theatre review
- Exiles (fortyfivedownstairs) – theatre review
- Caught (Red Stitch Theatre) – theatre review
Alex First is the editor of The Blurb. Alex is a Melbourne based journalist and communications specialist. He also contributes to The Blurb on film and theatre.
