A mother’s desire to see her daughter escape from a good for nothing, small-town, working-class existence drives the fierce drama Break of Day. She (Pam – Kat Stewart) had aspirations too when she was her daughter, Rae’s (Sherry-Lee Watson) age – 17. But that was the year she gave birth to Rae and the die was cast.
Now, to try to make ends meet, she pulls 12-hour overnight shifts packing boxes for a global online retailer an hour away. Still, she continues to struggle. In fact, her former classmate, Sanjeeva (Chum Ehelepola) is her supervisor. Pam recalls he had musical aspirations and now, he too, has to make do at the pick and pack establishment, although he is accepting of his lot.
Also in the picture is Pam’s father (Rae’s grandfather), Pop (Richard Piper), who grew up in Burra Creek, where they all live. Her mum (who we don’t meet) died of cancer. When she was alive, her dad cheated on her. Now in his 70s, he is just plain needy and prone to making inappropriate and sexist remarks to his granddaughter.
Rae is a hard worker and a gifted student, but she has to pull an all-nighter to submit an important paper – her analysis of the book Lolita – for her English literature class. Her mother keeps emphasising to her that she needs to obtain an Atar score of at least 96 to make something of her life.
Rae also plots a future with her boyfriend Jedediah (Theo Clarke), whose mother died when he was young and who lives with his father and brother. Jedediah longs for a future in community theatre and is also attracted to Rae’s smarts.
With time ticking down for Rae to get her work in on time, the pressure on her ramps up due to a series of unfortunate incidents. Meanwhile, we get to learn more about Pam and why she is so driven to see Rae succeed. In her endeavour to help Rae, Pam crosses the line.
Break of Day is a slice of life piece, focusing on how difficult it is to change one’s circumstances. As much as anything, the play explores sacrifice. For playwright Steve Rodgers, it was lived experience. The writing and research grew out of years spent in supermarkets and pubs, stacking shelves, pouring beers and dreaming of working in the theatre.
It smacks of authenticity. You feel for the situation Pam and Rae are in. I can see why it received The Australian Writers Guild Prize for Playwriting and the Rodney Seaborn Playwrights’ Award. Led by Kat Stewart, the performances are accomplished and grounded.
Stewart brings a lifetime of ordeal to her representation of Pam. As Rae, Sherry-Lee Watson generates the idealism of youth. Richard Piper ensures Pop remains mired in the past. Chum Ehelepola plays Sanjeeva as compliant, given his family’s background. As Jedediah, Theo Clarke is comfortable enough where he is and doesn’t see the need to pull up stumps.
The action takes place on a large, imposing and impressive two-tier rotating set. Masterfully designed by Anna Cordingley, it showcases the warehouse and its surrounds, Pam and Rae’s ordinary home and a toilet at the warehouse. Street and work clothes, and a school uniform are all that is needed by way of costuming, which is also Cordingley’s domain.
Composer and sound designer Jethro Woodward has crafted a series of powerful music stings to most effectively separate scenes. Lighting designer Paul Jackson makes good use of shadow, while setting the mood. Break of Day reunites Kat Stewart with director Sarah Goodes, after they worked so well together on Who’s Afraid of Virginia Woolf? at Red Stitch Actors’ Theatre. So it is again here. This is a work of great feeling.
In short, it is compelling theatre, realised with poise and polish by a highly talented group of actors, together with the behind-the-scenes crew. One hour 45 minutes without interval, it is on at Merlyn Theatre, at Malthouse Theatre, until 29th August, 2026.
Alex First
Other reviews you might enjoy:
- The Hate Race (Malthouse Theatre) – theatre review
- Who’s Afraid of Virginia Woolf? (Comedy Theatre) – theatre review
- This is Living (Malthouse Theatre) – theatre review
Alex First is the editor of The Blurb. Alex is a Melbourne based journalist and communications specialist. He also contributes to The Blurb on film and theatre.
