REVIEW: FLY GIRL Brings Australian Aviation History And The Landmark Sex Discrimination Case Against Ansett Airlines To the Stage

Deborah Lawrie’s story of winning the fight to be the first female pilot for a major Australian Airline plays out in Genevieve Hegney and Catherine Moore’s (playwrights) new play, FLY GIRL.  Directed by Janine Watson, this important look at Australian aviation and employment history is presented with honesty and humour to remind contemporary audiences that the prejudices and discrimination that tried to keep women out of the flight decks of Australian planes was not that far away to be considered something of a past era. 

Currently a First Officer with Virgin Australia, Deborah Lawrie (known as Deborah Wardley while married) holds a number of distinctions.  A Member of the Order of Australia for her significant service to aviation as a commercial pilot and to women in the profession, an inductee into the Australian Aviation Hall of Fame, and the world’s oldest female commercial pilot, Lawrie was also the first woman to become a pilot with a major Australian Airline.  FLY GIRL brings the story of her early career, particularly her landmark case against Ansett Airlines where Wardley v Ansett Transport Industries (Operations) Pty Ltd was the first case to be heard by the new Victorian Equal Opportunity Board in 1979, testing the new equal opportunity legislation.

Director Janine Watson brings writers Genevieve Hegney and Catherine Moore’s  script to stage and ensures that the humour they have used to tell the story that at some points seems unbelievable in contemporary context but are quite plausible mindsets in the late 70’s, is balanced with a seriousness so the power and importance of the work remains.  With a cast of five that include Hegney and Moore along with Alex Kirwan and Emma Palmer covering multiple roles and Cleo Meinck as Lawrie, the audience is transported back to the 1970’s with a stylised version of flight attendants in the Ansett Orange.  The stage is set to represent the airport departure lounges though set and Costume Designer has opted to keep the chairs mobile as part of the flexible space that can represent a terminal, pilot’s lounge, home and aircraft cockpit with the addition of simple elements.  The quartet of ‘supporting’ cast quickly transform from cabin crew to other 49 (ish) other characters with changes that range from the simple to the elaborate and the frequent addition of often rogue facial hair. 

In the 21st century some of the archaic arguments against allowing women to fly commercial aircraft are unbelievable in their stupidity and prejudice and it is hoped that they no longer persist but the gender imbalance in flight decks around the world is proof that while Deborah Lawrie’s case against Ansett got women into Australian flight decks (in terms of global, Australia was lagging behind the US and Europe), it is still a male dominated profession and her fight can’t be forgotten.  This work is well written, presented at a pace that provides the highlights and lowlights of Lawrie’s legal fight, but ensures that the story doesn’t drag.  Experiencing a non-opening night audience, it was interesting to see where the laughs landed, seeing the response to moments that were recognisable and relatable and others where people would contemplate the truth underlying the humour used to deflect some of the focus that a woman is standing up for her right to ‘take space’ and take her place based on merit not gender. 

As Lawrie, Cleo Meinck strikes a balance between determined but also human and humble which is in line with the Hegney and Moore’s Playwright’s Note.  The expression of Lawrie going through a preflight checklist is particularly amusing for anyone that has watched a pilot go through their memory items.  The ensemble provides a good support for Meinck, ensuring that the range of characters are quickly identified.  Coming from a personal point of recognition, the cabin crew moments are particularly delightful as comedy relief and providing a barometer of the cultural climate aft of the flight deck door while also providing more insight into the absurd regulations of the industry and while weigh ins and age restrictions have gone, it is only recently that another major Australian airline started to shift its uniform guidelines to not require high heels, an utterly impractical component of uniforms designed to fit an ‘ideal’ rather than be practical. 

A powerful and important piece of theatre, FLY GIRL is a must for anyone, not just those in aviation.  It is a reminder that we need to stay vigilant to ensure that women are given an equal opportunity and to ensure that society doesn’t slide back to the outdated ideas. 

FLY GIRL - Ensemble Theatre

Photos: Prudence Upton

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