The Roommate
Writer: Jen Silverman
Director: Lee Lewis
Ensemble Theatre, Kirribilli
19 June – 25 July, 2026
Director Lee Lewis crafts a pacy, entertaining amalgam of two very opposite women negotiating midlife problems in this darkly humorous piece.
The set (Simone Romaniuk) is a utilitarian Iowa kitchen, with a fruit bowl on the table as befits the style. Sharon (Lucy Bell), recently divorced, is facing the dilemma of finding a new direction in life – life in Iowa as a 50-ish single does not offer much scope socially, so she advertises for a roommate. The successful applicant, Robyn (Belinda Bromilow), is pretty much diametrically opposite in personality to Sharon. She’s from the Bronx, New York, admits to being gay and having had a previous life as a potter and slam poet. Nevertheless, the two women intrigue each other. Sharon, buttoned-down and conservative, is fascinated by Robyn’s edgy, street-wise, somewhat mysterious personality and her curiosity is piqued.
It’s soon evident that Robyn has a vivid past which seems to have broken all of society’s rules, in contrast to Sharon’s comparatively innocent background. Soon, however, they are sharing booze and smokes. The women develop a tentative camaraderie and seem to be warming to each other.
Sharon begins to sense there are darker elements to Robyn. Her small-town curiosity continues to probe. Why does Robyn have so many passports? Why does she carry a bag of ceramic dolls? Most of all, Sharon is becoming entranced by Robyn’s free-wheeling ways and eagerly announces she’d like to try some of the edgy stuff herself, actions that sail close to or border on illegality.
Much of the dark humour emanates from the contrast between the women’s past lives and their current status. It also highlights the problems and loneliness of middle age without strongly established social connections. Lucy Bell creates a gauche but charming Sharon, presenting her as neurotically nervy as she evaluates her new roommate. Belinda Bromilow’s Robyn is more contained, retaining some mystique while exuding East Coast knowledgeability. Both actors give outstanding performances in their roles.
Matt Cox’s subtle lighting design creates a variety of visual moods which are quite atmospheric, depicting morning or evening scenes. However, the percussive elements in Madeleine Picard’s compositions really provide emphasis and liveliness, accenting the points of tension in the play.
This production is altogether a charming piece of theatre, enthusiastically received by the Friday-night audience.
