Review:The World Premiere of HOW TO WRITE A HIT IN TWO DAYS
Immerse yourself in the writer's room of beloved aussie classic.
How to see the next Aussie hit.
The perfect recipe:
A beloved, iconic TV show
Stellar, world-class performers
The magic of the Ensemble Theatre
A brilliant, visionary writer
You in the audience
A Country Practice, with over 1,000 episodes, remains one of Australia’s most cherished TV milestones—a soap opera with the soul of a dramatic masterpiece. At its heart was Molly, played by Anne Tenney, the 1980s icon who captured the nation’s heart. But what happens when Tenney wants to move on to new roles? Tait’s play dives into the writers’ room, where the creative team grapples with crafting Molly’s exit, an event that will ripple through Australian TV and culture. Do they kill her off, leave the door open for a return, or keep it ambiguous? No spoilers here, but the choices they wrestle with are as profound as they are entertaining.
Tait, a self-professed A Country Practice devotee, masterfully blends humor and depth to explore this pivotal moment. The play examines not just the writers’ creative process but also their responsibility to an audience that faithfully follows the show. Through their debates, we glimpse the political and ethical issues of the era—think women’s agency and community values—that resonate personally and collectively. It’s a love letter to the show and a meditation on the power of storytelling.
The cast is a knockout. Georgie Parker delivers a masterclass as Judy, the scriptwriter whose recitation of Molly’s exit scene is simply sublime. Genevieve Lemon’s commanding presence as Dell transcends the stage, pulling you into her world. Sean O’Shea’s layered, comedic Bert is a joy, while Julia Robertson nearly steals the show as Sally, the medical advisor, with a scene that’s an emotional gut-punch. Amy Ingram’s Sharon embodies the jovial Aussie spirit, rounding out an ensemble where every actor shines.
Simone Romaniuk’s set design nails the 1980s writers’ room vibe—cosy, functional, and nostalgic. Michael Brockman’s warm, clever lighting brings the story to life, enhancing the emotional beats. Director Lee Lewis weaves Tait’s script, this extraordinary cast, and the creative team into a seamless triumph. Her vision ensures the play balances humor, heart, and social commentary, making it both a tribute to A Country Practice and a bold new work.
How to Write a Hit in Two Days is a must-see for fans of Australian television and theatre lovers alike. It’s a reminder of the stories that shape us and the writers who dare to wield that power. Get your tickets—you won’t want to miss this hit.
PS even though I am of thhis era I have never seen an episode of A Country Practice
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