Review: Dead Bat on the Night Shift

**Picture:** *Dead Bat on the Night Shift* curtain call (*Image credit: Creative Futures Photography).*

As the audience files into the auditorium, Claire Pearson (Sloane) holds our full attention. Settling into our seats we can see that the background ‘radio’ is not distracting her, and I want to learn quite what she is worried about.

The Acknowledgement of Country, and lighting shift, indicates that the Dead Bat on the Night Shift action is beginning—and we begin to understand that Sloane interprets numbers, library book tarot cards, and even the dead bat hanging from the powerlines, as ‘signs’ that it is time to act. Once we meet Dave (Daren King), we can relate to quite why Sloane might just conclude that ‘it’s time to kill her evil boss and save everyone at the call centre.’ Dave is a throwback to a bygone era; a misogynistic, sexist, racist, and completely charmless bully. Sloane has tried to collect evidence of how truly awful Dave is, and plans to expose his behaviour to the big boss; but it also appears that ‘Big Boss Dave’ (Greg Scurr, Voice Over) is likely to be cast in the same mould.

20 years ago, Samantha Hill (Playwright) first conceived this as a play about how people ’fix’ the daily grind. When more recently participating in the admirable Observatory Theatre Telescope Program, Hill realised the work is also ‘about out wonderful colleagues who get us through the day [and…] about the unexpected paths than can open up to us and change our lives. It’s about dreaming bigger.’ Sloane’s night shift co-workers are an eclectic bunch, and Lachlan Driscoll (Director, & Set and Costume Designer) has attracted a great cast; a believable group of oppressed office workers and unlikely friends.

Ellen Hardisty (Clara[s]) relishes her contrasting roles in the play—where I particularly like her resilient and caring role as the newest member of the nightshift crew. King creates a cringe-worthy, highly-manipulative ‘boss from hell.’ Jaxon Norman (Jonathan) is impressive as the charming wannabe tour guide whose family is determined he will pursue a legal career. Clarise Ooi continues to be one to watch, and is perfect for the geeky, charitable, smart and empathetic Aysu. Pearson is a strong leading actor, giving us real insights into the impact of Sloane’s early trauma, the challenges of fitting in, and the changes that her final choices bring. And Jenna Murphy gives an unforgettable showcase when cast as the various Pamelas that Sloane meets along the way; my favourites being the tour guide and, of course, as the office Pamela.

Driscoll has also attracted an excellent team of fellow creatives. I am blown away by the Dead Bat on the Night Shift vision and sound designs. Freddy Komp (Vision Designer) has created a memorable and compelling work, where Komp’s drawings are chalked onto the background black wall. It is definitely worth walking into the PIP Main Theatre as soon as the doors open, to be able to watch Sloane’s bedroom being slowly ‘drawn’ on the set. Throughout the show, I love how the location switching, including that fantastic re-creation of the Brisbane CBD skyline, benefits from the changing artwork—all of which is sensitively lit (Noah Milne, Lighting Designer). Equally, Hannah Page’s composition and sound design is spot on, and really enhances the work.

It appears to be a trend that many recent new plays are highly episodic. For me, fewer/longer acts allow for more character development, even if that means that some of the fun moments in a previously episodic play end up on the ‘cutting room floor.’ Driscoll does a great job in keeping the Dead Bat on the Night Shift action moving during the various scene changes, but I feel that many moments, such as the several of Sloane’s conversations with her ‘dead mother,’ might be removed if Hill or the Observatory team decide to revisit this one.

I anticipate that audience responses to Dead Bat on the Night Shift will vary considerably. The show is promoted as a comedy thriller, and as a darkly hilarious evening of huge laughs. Members of the Saturday matinee audience responded with quietly wry smiles, and enthusiastic applause. Perhaps this was because several of us walked away pondering the central messages about determinism versus free will—for, as Driscoll observes in his program note, ‘while many of the characters believe their path is set, the play dares them to choose for themselves.’ New work that encourages us to call-out unacceptable behaviour, to value true friendship, and to support people who may need our empathy and help, must be new work that should be celebrated and seen. You may not find Dead Bat on the Night Shift to be hilarious, but it’s a well-directed and thought-provoking show, with amazing vision design, excellent sound design, and an impressive cast.

Catherine Lawrence

**Picture**: *Dead Bat on the Night Shift* (Credit: Creative Futures Photography).

Audience information: Dead Bat on the Night Shift, PIP Theatre, 20 Park Road, Milton QLD 4064 (26 August – 5 September 2026). Recommend 14+ (Adult Themes, Strong Coarse language, Use of misogynistic and racist language, Sexual references, Theatrical Violence, Sudden Loud Sounds, Sounds of gun shots, Flashing or Strobing Lights, Reference to Alcohol, Themes of Death or Grief, References to murder and homicide, References to the foster system, Depiction of mental health struggles, Use of fake blood and Use of a fake firearm). 140 minutes, including a 20-minute interval. Tickets $31-45, plus $3.30 booking fee.

Additional Credits: Hannah Page (Stage Manager), Imogen Meehan (Assistant Stage Manager, also was seen onstage as the Streetgoer and as Sanjay), ‘Siri’ Voice over (Lia Hope), ‘Bat’ Voice Over (Tai Kane-Potaka), Vivian Hannah Ho (Movement Director), Sherri Smith (Intimacy Director), Chris Kellett (Set Realisor & Constructor), Emma Churchland (Dramaturg), Minola Theatre (Creative Consultant), Jason McKell (Fight Director), Calum Johnston (Puppet Fabricator), Rod Brennan (Set Painter).

Produced by Observatory Theatre as a Co-Production with PIP Theatre. Dead Bat on the Night Shift was commissioned and developed through Observatory Theatre’s Telescope New Writing Program.

The reviewer attended the 29 August 2026, 2pm performance.

Geoff Lawrence