There’s something powerful about watching a story that feels like it could be your own — and Querencia Calling, written by first-time playwright Sharyn Henderson, achieves exactly that. This tender and truthful new work, directed by Geoff Brittain, draws us into the lives of five long-time friends as they navigate memory, connection, and what it really means to be there for one another.
The play opens in a bustling pub — suggested by subtle but effective sound design — where four of the five friends are reuniting. Over wine and familiar rhythms, we begin to understand the group dynamic: the confident energy of Belinda, the weary arrival of Clare straight off a long-haul flight from London, and Meredith’s quiet watchfulness. Meredith (Perrin Abbas), a writer, is portrayed with thoughtful detail — often observing, occasionally noting things down, quietly shaping the story we’re watching into one she’ll one day publish. She and Simon (L.A. Foale) frequently find themselves refereeing long-standing friction between Belinda and Clare — tension that’s clearly part of the group’s shared history.
Meanwhile, across the stage, a contrasting figure sits quietly on a couch in what feels like a warm and familiar home setting. This is Emma (Cheryl Douglas), contemplative and silent, sipping wine alone. It’s a beautifully staged juxtaposition — the bustle and chatter of a reunion on one side, and a woman on the outside of it all on the other. That visual separation quietly sets the tone for what’s to come.
As the friends gather at a remote cabin — the beloved place of their younger years — the story begins to deepen. The transition is handled simply but effectively, with a clever change to table settings and lighting that signal a shift from pub to cabin. Costumes, too, help guide us gently through the passage of days — and later, a whole year. Though contemporary and understated, the wardrobe choices provide clear visual cues about time and character growth.
Douglas delivers a powerful and emotionally grounded performance as Emma. Her reluctance to join the others in dancing, drinking, and rehashing old times carries weight. The undercurrent is clear: something is different. When Emma finally lashes out in a moment of raw honesty, it lands with devastating clarity. Douglas handles the emotional turn — and its aftermath — with authenticity and quiet strength.
By the play’s final scenes, we witness Emma’s transformation. In a time-jump epilogue, she returns to the cabin after a year in Spain, looking lighter, freer — as though the weight she carried has finally shifted. Douglas’s physicality and energy in these moments offer a striking contrast to the worn-down woman we first met. It’s a subtle but convincing reminder of how grief and healing can both change us.
The ensemble is strong across the board. Georgia Stockham’s Belinda is loud, funny, and full of heart. Alicia Zorkovic gives Clare a grounded realism, while Foale and Abbas anchor the group with thoughtful, balanced performances. Their relationships feel real — full of shorthand, shared memories, tensions, and loyalties. It’s like being a fly on the wall at a real-life reunion.
The dialogue is natural, often funny, and filled with references that anchor the characters firmly in time and place. While I won’t spoil the story’s central reveal, I will say this: I was personally moved, remembering the people who were there for me during a similar time in my life. The writing and performance honoured that experience with quiet dignity — and never slipped into sentimentality.
The final moments of the play are full of warmth and hope. Meredith’s latest book — titled Querencia Calling — has just been released. And as the cabin door opens one last time, we’re reminded that querencia — that place where we feel most ourselves — is sometimes found in the people who know us best.
Querencia Calling is a beautifully written and thoughtfully staged work about friendship, grief, and the unseen emotional loads we carry. It’s a love letter to those who’ve lifted us up — and a gentle nudge to let ourselves be lifted. I left the theatre reflective, grateful, and thinking of the people who feel like home.
The audience response on the night was just as genuine as the performances onstage. A standing ovation followed the final moments, and I wasn’t the only one quietly wiping away tears. The applause felt heartfelt and deeply appreciative. Afterwards, I overheard many people commenting on how believable it all was — a testament to both the writing and the ensemble’s ability to make these characters feel entirely real.
