Playback (Or, A Play About But Not Starring A Famous Politician) — and yes, that title is doing a lot of heavy lifting — is Glassey's sharp new black comedy dissecting the art of political spin, the mythology of the press gallery, and the question of whether anyone in Australian public life ever truly gets held accountable.
Directed by AWGIE-nominated Craig Alexander and running at The Street from 22–31 May, the show stars the much-anticipated return of Andrea Close alongside actor-improviser Tyler Jenkins. Together they navigate a world where a fading podcast host, an enigmatic young man, and the ghost of one very recognisable prime ministerial career collide in a single room.
It began, as so many great ideas do, with a terrible speech — specifically, Morrison's valedictory address to the House of Representatives, which apparently contained enough Taylor Swift references to send a Canberra-based journalist-turned-playwright over the edge.
We sat down with Tom — press gallery veteran, Sam Shepard admirer, and man with Mungo MacCallum tattooed on his leg — to talk politics, comedy, and what happens when a valedictory speech becomes the starting gun.
Tom Glassey is a Canberra-based writer. Drawing from his experience as a press gallery journalist, his latest work Playback* explores the role of editing and the soundbite in the selling of modern politics. Tom has previously worked as a creative copywriter, podcast producer, and media adviser. Photo by Nathan Smith.
FUSE: What first sparked the idea for Playback?
TOM: The catalyst was unequivocally Scott Morrison's valedictory speech. Amongst other things, it was a collection of glib Taylor Swift references. It made me think — if this is Morrison putting his career onto the record, it's not the whole story.
For people who may not follow politics, why do you think they would get out of your play?
In many ways, 'politics' is just a shell for the play — it's the thing that brings the impending pressures and gets these two very different characters into the same room. And once they're in the same room, it's a comedy that isn't so much about politics as it is about generational differences and the places where distinct ideologies rub up against each other.
As a Canberra-based writer, how does being close to the machinery of politics affect the way you see the workings of government?
I think it's actually really difficult writing when you're close to the machinery. The relationship between the press gallery and the political class is both fascinating and occasionally troubling. Ultimately, when subjected to a constant charm offensive, it can be hard to keep perspective, and keep angry, about the conduct of politicians and governments. You've gotta get away from it all to remind yourself.
What do you think modern politics reveals about the way stories and narratives are packaged for public consumption?
It's hardly a controversial opinion, but we're definitely operating under a cynical, transactional and post-truth political system. It's less about what politicians do, and more about what they can get away with. The politician as 'fictional storyteller' has never been more widely accepted, for some reason.
Photo by Shelly Higgs
We might expect the Press Gallery to be a very serious place, but I’m wondering if there's a decent amount of witty jokes among the reporters as well, and if these helped shape your play?
Keeping in mind some of my closest friends, colleagues, and mentors are press gallery journalists — a lot of press gallery journalists are the weirdest style of people I've ever met. I wouldn't say I've ripped anything from the gallery verbatim, but definitely some of the... peculiarities of journalists have fed through.
You’ve described inspirations ranging from Mungo MacCallum to Sam Shepard and John Prine. How do those influences show up in your writing?
Cards on the table, there's not a lot of John Prine in this play.
But from Shepard, definitely his focus on image. There's quite a few striking 'frames' in the text, that I think feed through to the stage really nicely.
And Mungo is definitely the writer whose aims I try to replicate in my work. His writing was once described as "vivid, stumbling, and alive" and I write this on the top of every notebook page I'm working from. I try to keep Mungo in everything I write—that's why I've got him tattooed on my leg.
What conversations were you hoping it would spark among audiences after they see Playback?
I hope it's a refresher — as much as it would be easy to forget Morrison, I think there are lessons to be learned from him. A lot of people who have seen developments or readings of the show have said "Oh, yeah, I forgot he did that. How odd."
What would your own soundbite be about Playback?
The sound of a child's head softly colliding with the turf, when tackled by Scott Morrison during a friendly rubgy game.
Would you like Scott Morrison to come and see you play, and do you think he might chuckle?
I've been thinking about this a lot — and talking to other playwrights who've written political material that was attended by politicians. The general consensus seems to be that most politicians just like people to be talking about them regardless of the context.
I think Morrison is more than capable of laughing at himself, which is important. If he does come, I hope I get to sit next to him.
Playback (Or, A Play About But Not Starring A Famous Politician).
A play by Tom Glassctedey and dire by Craig Alexander (AWGIE-nominated Snatchers), this sharp and satirical black comedy invites audiences into the world of framing modern politics.
A Street Produced Professional Theatre Production
Developed through The Street’s RESIDENT STREET program.
Saturday 23 May - Sunday 31 May
Preview Friday 22 May
Definitely not authorised by Scott Morrison
Saturday 23 May - Sunday 31 May
Preview Friday 22 May
Thursday 28 May Post Show Q&A
A special performance where the audience gets to ask cast and crew questions after the show. This is your chance to gain deeper insight into the work, ask questions about the artistic process, hear behind-the-scenes anecdotes and shares responses with the cast and creative team. The post-show Q&A is only available to ticketholders of that performance and are included in the ticket price. These evenings are always very popular, so make sure you book in early!
Street Two | Unreserved | 70 Minutes
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