8 September 2025
By James Mullan
Have you ever wondered how writers come up with stories? Playwright Melanie Tait has pulled the thread on that curiosity and re-woven it into How to Plot a Hit in Two Days, a story centred around the writers’ room of smash-hit Australian TV serial A Country Practice.
When one ponders moments on TV that stopped the nation, minds likely drift to the Whitlam Dismissal, Cathy Freeman’s 400m gold, Bob Hawke after the America’s Cup victory, or even more comedic moments like The Chaser at APEC or Cory Worthington on ACA. When it comes to dramatic moments, Scott and Charlene’s wedding on Neighbours, Patrick’s death on Offspring or Lou’s death in Love My Way are few, but none have captured the heart and focus of Australia quite like Molly’s death on A Country Practice.
Tait has imagined how the writers approached a seemingly impossible plot line and guided Australia through the news that would break their hearts. As a fan of the show, the playwright went to great lengths to get the story behind the storyline, even finding the real-life writers of the hit TV series.
Enter Georgie Parker, who was a fixture on A Country Practice as nurse Lucy Gardiner, but now is on the other side of the script as writer Judy. It really is perfect casting, with thousands of Australians recognising the double Gold Logie winner as an icon of the Australian screen. Judy has a reputation as one of the best murderers in the business, with a reputation in the industry for killing off characters with the stroke of a pen and genius. The seven-time Logie winner Parker is in her element on stage, yet again captivating an Australian audience with a layered portrayal of Judy.
She enters a messy writers’ room, with tapes and a TV in the corner, a whiteboard, round table and a wall of actors’ headshots, overseeing the very people who create their characters’ destinies. The detail of the set is impeccable, transporting the audience to the 80s, courtesy of designer Simone Romaniuk.
Judy is soon joined by seasoned writer Dell (Genevieve Lemon) and the mercurial Bert (Sean O’Shea). Again, Romaniuk’s craft is on display with costumes that have the guitar riff of Dire Straits’ Money for Nothing quietly being evoked in one’s mind. 80s to a tee, yet subtle details that align with the characters’ age and life experience.
Lemon exudes a strength, embodying a life of experience mixed with a calm, hardworking resolve. Dell is an instantly likeable character, who looks to provide substance to the stories of the show.
Meanwhile, Bert brings a comedic touch to the writing, having worked with giants of the comedy world in Australia and the USA. O’Shea is sensational, with a precise comic timing without the slapstick; he immediately endears Bert to the audience, flaws and all.
Sally (Julia Robertson) is the last writer to turn up, coming off a long shift as a nurse, she is the medical brains trust of the show. This is Robertson’s Ensemble debut, but she looked right at home at the North Shore’s favourite theatre, despite the fact Sally is a character who is quite highly strung. Robertson embodied Sally’s energy and emotion, showing the nurse’s mind constantly ticking over.
Last to arrive in the writers’ room is a force to be reckoned with: Sharon (Amy Ingram), an ex-con who has hustled her way into show biz and is in charge of piecing together the stories of A Country Practice. Ingram delivers one of the funniest performances audiences will ever see on the Ensemble stage. From her mannerisms and stage presence to the in-your-face, vulgar voice, Ingram is unbelievably funny.
But there isn’t a whole lot to laugh about for the writers, who have the monumental task of killing one of Australia’s most beloved characters. It’s about the journey not the destination, as for those who have watched the TV show likely know how it all ends. The journey the writers go through is a full display of the range of human emotions as they struggle to separate their own life experiences for the script.
As a whole, the cast is completely in sync, bouncing off each other and commanding the pace of the story to perfection. This is a testament to the masterful direction of Lee Lewis and assistant director Tiffancy Wong. Lewis is one of the most trusted and decorated directors in the nation. It is clear why she was chosen to lead the debut production of the piece, bringing incredible performances out of the cast and doing the original TV show great justice.
Whether you have seen the original show or not, How to Plot a Hit in Two Days is a must-see and undoubtedly an instant classic of Australian theatre. Tait has created an important piece of art that reflects and captures this country’s soul, akin to the works of David Williamson.
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