Review: Lottie Butcher’s Take on OVER AND OUT at Hannah Playhouse

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30 May

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Over and Out arrives at The Hannah Playhouse for its second outing following a successful season at BATS Theatre, where it collected a clutch of awards and considerable acclaim. With an experienced director in Simon Leary and a talented performer in Jackson Burling, my expectations were high.

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Centred around a deceptively simple question, “has Jackson chosen the correct career path: truck driver or actor”? Over and Out takes audiences on a deeply personal journey through the lens of verbatim theatre. Burling breaks the fourth wall, inviting us into both the form and the story, He schools us in the mechanics of verbatim theatre, making the audience active participants in the journey rather than passive observers.

A performer playing themselves can sometimes veer towards indulgence or self-importance, but Burling avoids that trap entirely. He is disarmingly charming, immensely likeable, and effortlessly engaging. His warmth creates an immediate connection with the audience, allowing us to invest fully in the question at the heart of the show.

At the centre of the narrative is Murphy, a quintessential Kiwi truck driver whose story provides both hearty laughs and moments of stark honesty as he recounts the realities of life on the road. The true magic of the production lies in the moments where Burling transitions between himself and Murphy, replaying the interview on the road. These transformations are seamless, a masterclass in characterisation. Burling's ability to inhabit another person while retaining their authenticity is a testament to his considerable skill as a performer.

The production's visual language is equally thoughtful. Jacob Banks' lighting design features a flickering lamp that becomes a potent symbol throughout the work. Acting as a connection to home and family, it casts its glow across the stage like a reminder of the life Burling might have chosen had he continued the family trucking business. The lamp's intermittent flicker suggests something unresolved, perhaps uncertainty, perhaps guilt, perhaps simply the persistent pull of another possible future.

Importantly, additional lighting is also not hidden, rigged on the sides of the staging. Its mechanics remain visible, deliberate and clever, echoing the production's willingness to expose its own theatrical construction. Just as Burling breaks the fourth wall, the design elements refuse to disappear into the background. This is a story within a story, and the production embraces that self-awareness at every turn.

One particularly special aspect of this performance was sharing the audience with the real Murphy and his whānau. Throughout the show, whispers of "That's so him" drifted around the auditorium. It was a rare privilege to witness a community seeing themselves reflected on stage with such accuracy and affection. Those reactions confirmed what was already evident: Burling had captured Murphy's voice, humour, and humanity with remarkable precision. His family were clearly moved by the portrayal, and their responses became an unexpected but powerful extension of the performance itself.

Over and Out is funny, heartfelt, technically assured, and deeply human. Beneath its exploration of career choices lies a broader meditation on identity, family expectations, and the paths we choose or leave behind.

If the standing ovation was any indication, Jackson can safely leave his Class 5 licence in his wallet.

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_Originally reported by [BroadwayWorld](https://www.broadwayworld.com/new-zealand/article/Review-OVER-AND-OUT-REVIEWED-BY-LOTTIE-BUTCHER-at-Hannah-Playhouse-20260531)._