Review: Hotel Sorrento at Ad Astra

Review by Grace Swadling

Ad Astra's first production of 2026, Hotel Sorrento  is a raw exploration of a family pushed to the edge and what happens when quiet, buried resentments finally claw their way to the surface. Directed by Susan O’Toole Cridland, this production strips away the veneer of middle-class domesticity to capture the pensive sadness of a family at a crossroads and articulates a search for Australian identity that still pervades our modern cultural environment. 

Originally written by Hannie Rayson in 1990, and adapted into a film in 1995, the story follows three sisters who are reunited after ten years in different worlds. Hilary lives in seaside Sorrento in their childhood home with her father and sixteen-year-old son; Pippa is visiting from New York and Meg returns from England with her English husband. It is Meg's semi-autobiographical novel, recently short-listed for the Booker prize, which overshadows their homecoming. When crisis hits, the sisters are finally forced to confront buried grudges, dark secrets and long-simmering resentment.

The intimate setting of the Pluto Theatre worked perfectly for this story to unfold - the setting is utterly familiar to Australian audiences. Everyone has been to somewhere like Sorrento at least once in their lives; a sleepy seaside town where it’s almost like stepping back into a different time. This nostalgia draws audiences into a very specific world and set design by Kim Phillips made excellent use of the small space, creating a fully realised set complete with a working kitchen. In the first act, the production excellently jumped between three different sets; the family kitchen, an apartment in London and the Sorrento jetty. Lighting and sound helped shift the action seamlessly between these sets - there were a few jarring shifts between scenes but this mostly resolved as the play settled in. The second act brings everyone together and the set was particularly effective in reflecting a sense of claustrophobia; the grief and resentment bubbling under the surface of this family is suffocating. The past is a strong presence in the play - the sisters have conflicting and contradicting perspectives of their childhood, whilst also refusing to dive deeper into the residual hurt lingering under the surface, until this reaches an unavoidable boiling point.

The production has a strong ensemble who brought authenticity and truth to these characters. These characters feel completely realised and recognisable without becoming caricatures or unflattering stereotypes. The family dynamics were alive and present - the three sisters all worked well off each other and their relationships felt grounded in truth. Alison Telfer McDonald showcased simultaneous strength and fragility as the eldest sister Hilary, who continues to keep going on, despite the sacrifices she’s had to make and the blows life has dealt her. Telfer McDonald’s relationship with Nathaniel Cross as Troy was also beautifully realised, particularly in their scenes in Act 2. Izabela Wasilewska was suitably combative and well-spoken as Meg, but also showed some tender moments of vulnerability. Gemma Keliher portrayed Pippa with lovely intensity and the tension between Pippa and her sisters was kept alive through Keliher’s passionate portrayal, building to the climatic reveal of the play.

Dan Crestani as Edwin was a stand-out as the affable English husband and a highlight of the night was watching each of his costume changes get more and more fabulous throughout the play. John Stibbard’s Wal was utterly recognisable as the loveable patriarch of the family, the true blue Aussie battler who can be found cracking jokes at the pub - maybe not always appropriate but always full of gusto and heart. Stibbard brought a sweet authenticity to the character which was truly lovely to watch. Rounding out the cast, Shirley Moran (Marge) and Jeremy Wellan (Dick) had lovely chemistry in all of their scenes - Moran also had one of the most compelling moments of the night in a scene with Hilary that revealed Marge’s quiet yet powerful resilience.

The beauty in Hannie Rayson’s writing is that the complex socio-political tensions of the wider world are explored through the lens of family and the domestic sphere. The sisters’ personal longing for a sense of home also reflects Australia’s wider search for cultural identity in this modern Australian classic. Indeed this production showcased an interesting snapshot of a microcosm of Australian society within a time period which still feels somewhat relevant to a modern audience. Much like the characters, the audience are forced to reconcile with truths that may have been submerged or repressed.

At times, the energy and pace could have been enhanced to drive the story. This had more to do with the writing and structure of the play, where Act 1 seemed stronger - although the punchy dinner scene in Act 2 was done excellently. There were lovely moments of profound writing but this was often juxtaposed with some clunky dialogue and some potentially out-dated quirks of the Aussie vernacular. Certain stylistic choices also felt as though they didn’t always land - the choice of pre-recorded songs felt at odds with the soft tone of the rest of the production. However the addition of Oscar Lowe’s piano accompaniment was a lovely touch, providing a subtle and well-delivered underscoring for emotional and poignant moments throughout the entire play.

O’Toole Cridland and the whole cast deftly handled the many concepts explored through the play; notions of truth vs loyalty, expats vs patriots, the ephemerality of memory, the trappings of the middle-class Australian family, particularly the gender politics at play within these family dynamics - “Why be happy when you can have clean Venetians?” - and the realities of being estranged from your country and family. However it was the ensemble’s genuine connection that was the heartbeat of the show. Under O’Toole Cridland’s direction they moved with such trust and shared purpose, rendering the performance deeply authentic and turning a solid production into something truly moving.

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