0°C | Monday February 2, 2026 
4 November 2025
By James Mullan
Turbulence, smooth air and in-flight entertainment — Fly Girl takes off at Ensemble Theatre and proves an instant classic. This world premiere, following the journey of Australia’s first female commercial pilot, transports audiences with its mix of charm, triumph and comic turbulence.
From the comedic team behind Ensemble hits Unqualified and Still Unqualified, Genevieve Hegney and Catherine Moore deliver a masterclass in storytelling that keeps the audience in stitches while never losing its emotional core. Hegney and Moore also perform in the production, steering the narrative through its highs and lows with precision and heart.
The play whisks viewers back to late-1960s and 70s Australia — a time when women in trousers were still uncommon, let alone those in pilot uniforms. As Ansett Airlines thrives in the commercial aviation boom, we meet Deborah Lawrie (Cleo Meinck), a determined young woman inspired by her unconventional father to take to the skies. Her passion is not just a flight of fancy: she quickly masters the technical and physical demands of aviation.
But her path to a commercial pilot’s licence hits headwinds in an industry still firmly a boys’ club, where women are confined to serving drinks in the aisle. That doesn’t stop the brilliantly funny flight-crew trio — Hegney (Patricia), Moore (Glenda) and Emma Palmer (Margaret) — who deliver pitch-perfect humour, offer chicken-or-beef service and narrate proceedings from the cabin with razor wit. Their interplay recalls the comic chemistry of Jane Turner and Gina Riley’s Kath and Kim, complete with suburban accents and sly commentary on changing times.
Based on a true story, Fly Girl charts Lawrie’s extraordinary legal battle against aviation magnate Reg Ansett, which went all the way to the High Court. The writing team and production crew compress this complex, years-long saga into an intimate yet expansive show. With a cast of only five playing more than 25 roles, the production maintains the energy of a revue while delivering a coherent and emotionally resonant arc.
Emma Palmer stands out for her versatility, playing both a lawyer and Lawrie’s mother — two sharply contrasting figures rendered with warmth and precision. Meinck and Alex Kirwan (as Peter Wardley) share genuine on-stage chemistry that grounds the narrative and highlights the personal cost of Lawrie’s struggle.
Set and costume designer Grace Deacon and costume supervisor Renata Beslik deserve special mention for their attention to period detail and seamless transitions, achieved through clever visual design and quick-change tricks. Director Janine Watson keeps the action moving with the coordination of an air traffic controller, guiding a complex, fast-paced story without a single missed cue.
Fly Girl has already earned its place as a standout in Australian theatre. It revives an important chapter in the nation’s history with sharp humour, emotional clarity and impeccable timing. The show achieves a rare balance — delivering both laughter and gravity, reminding audiences that breaking barriers can be both inspiring and wildly entertaining.