Working in the care and support industry, it doesn’t take long before you begrudgingly accept that nothing changes. The budget is nonexistent, the demands are endless, and the pay is laughable. Meanwhile, your boss (who never quite grew out of being the mean girl in high school) takes home yet another bonus, whilst harping on about all the good she’s doing. It feels like no matter what you do, you can never make a big enough difference. Deep down, though, you truly care about these people that you care for. So every day you keep showing up, and do the best you can with what you’re given.
Meet Ruby, a young employee of Pine Grove Aged Care Centre, the setting of Australian screenwriting legend Tom Gleisner’s new musical Bloom. For Ruby and her colleague Gloria, who’s eight years into a six-month contract, the above is their everyday reality. They’re trying to provide Pine Grove’s residents with a dignified, enriched life. But their manager Mrs MacIntyre cuts costs wherever she can, at the expense of the residents’ wellbeing. The last thing Ruby and Gloria need on their plate is Finn, a laid-back uni student studying music – not aged care – who’s run out of housing options and takes a position at Pine Grove in exchange for free board.
The day Finn arrives, so does Rose: a lively and rebellious new resident who’s there against her will and insists that she doesn’t need help. Finn and Rose form an unlikely bond, and with Rose’s guidance, he and Ruby learn some important lessons about their places in the world. Along the way, Finn gets to know light-fingered Betty and her son’s many jobs, DIY guy Doug and his love for talented artist Lesley, thespian Roland’s illustrious stage career, and even strong and silent Salvatore.
This eccentric cast of characters is one of Bloom’s major highlights. It’s rare to see such three-dimensional older characters, especially so many of them on one stage. Each has their own life story, their own personality and interests, and their own skills to offer the rebellion. They’re also experiencing their own individual challenges with age, which are treated with the utmost dignity and sensitivity by the show’s writing.
Evelyn Krape as Rose is truly effervescent, balancing her high-octane personality and cheeky one-liners with graceful wisdom and emotion without making either aspect feel cheapened. Alongside her, Vidya Makan’s powerhouse vocals as Ruby never fail to impress, and Christina O’Neill’s deep emotion as Gloria is incredibly moving. Slone Sudiro’s portrayal of Finn trying to ‘this is fine’ his way through the financial and social turmoil of university is so realistic that it’s almost concerning. The remainder of the residents – Maria Mercedes, Eddie Muliaumaseali’i, John O’May, Jackie Rees, and John Waters – each offer their own emotive and dynamic performances, connecting deeply with the audience. Meanwhile, Christie Whelan Browne throws herself wholeheartedly into the role of Mrs MacIntyre as though she’s a cartoon villain. Whilst the character is terrifying, her performance is captivating.
Another standout of Bloom is its visual design. The grimy walls and generic furniture are instantly recognisable and immersive. All the characters’ initial costumes are designed to almost blend into the background, except for Rose, who is a stark contrast. As the show progresses, Rose’s glow is subdued slightly, but everyone else gradually begins to stand out, taking on her warm colours as she works her magic on their lives. The floral additions to the set for the final scene similarly give a peek into the extent of Rose’s effect on the world around her, greatly elevating the impact of the moment.
Musically, Bloom is not necessarily anything special. Its strength lies in how Gleisner’s direct, un-sugarcoated writing captures realistic turns of phrase whilst providing levity to keep its most upsetting plot points from dragging. His lyrics don’t always seem to retain this, often becoming repetitive or feeling like he’s labouring the point, and most songs seemed to overstay their welcome. This is not to say that composer Katie Weston’s music is not beautiful. On the contrary, the most impactful and emotive song in the show is the wordless ‘Salvatore’s Song’: so much conveyed through the characters’ voices blending together and dancing around each other.
All in all, Bloom is a hopeful and uplifting journey through the realities of the aged care sector and current cost-of-living pressure. It sheds light on these issues without feeling bogged down or preachy. Its lovable characters and beautiful story are not to be missed. You can catch Bloom playing at Sydney Theatre Co’s Roslyn Packer Theatre until the 11th of May 2025.
Photo credit: Sydney Theatre Company website
