"You're On The Air"

Genre: Comedy / Satire

Setting: A late-1980s Australian FM radio station — “Rock 107”

Concept & Style: You’re On The Air is a one-act, ensemble comedy written in the tradition of Working Dog Realism — a fast-paced, naturalistic comedic mode that blends overlapping dialogue, deadpan exchanges, and institutional absurdity. The play captures the authentic rhythm of workplace conversation while amplifying the egos, politics, and chaos of an era when radio was king, the music was loud, and the hair was louder.

Structure & Staging: Set entirely within a two-room stage — the on-air studio (left) and the office/staff area (right) — the play relies on tight cross-choreography, fast dialogue transitions, and sound cues to simulate the real-time energy of a live radio station. Action constantly flips between both spaces, often overlapping or bleeding through as mics are accidentally left live or off. The play unfolds over a single chaotic workday — from breakfast to drive-time — following an ensemble of archetypal 80s radio personalities:

• Mick “The Mouth” Malone: (Male) - The ageing breakfast rock jock with more ego than tech skill
• Sandra Steele: (Female) - The sharp, straight-laced newsreader who barely tolerates Mick’s “charm.”
• Kev “Killer” Kavanagh: (Male) - The footy-obsessed sports announcer who commentates everything
• Cheryl: (Female) - The bubbly receptionist whose wry realism keeps the whole circus tethered
• Barry Baxter: (Male) - The ex-DJ Programme Director trying (and failing) to modernise
• Graham Greaves: (Male) - The spineless corporate manager driven by branding and fear
• “Rockin’ Rod” Rivers: (Male) - The swaggering Drive DJ whose arrival delivers the ultimate send-up of 80s radio excess

Creative Tone: Written for an adult audience, the humour is unapologetically of its time — irreverent, crude, and nostalgic, but handled with the self-awareness and irony of modern satire. Think Frontline meets WKRP in Cincinnati — the glamour, the grind, and the glorious stupidity of 80s broadcast culture, all played dead-straight.

Production Note: Designed for medium to large community or professional stages, the play offers flexible casting (7–9 roles) and can be easily adapted for black box or proscenium setups. Sound design is key — integrating 80s tracks, station IDs, jingles, and live “on-air” sequences to heighten realism.

Audience: Ideal for audiences aged 40+, lovers of Australian comedy, music nostalgia, and ensemble satire. It celebrates the outrageousness of its era while poking gentle fun at the institutions, personalities, and gender politics that defined them.

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