Roger Hall's "Glide Time" Still Sharp at 50th Anniversary Performance

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Funny, familiar and uncomfortably true.

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What a delight to sit behind Sir Roger Hall at the 50th anniversary performance of the timeless classic Glide Time. Deftly and perceptively directed by Vikki Cunningham, and set firmly in 1976, Hall’s comic genius is still sharp, shrewd and strangely current: a deliciously awkward satire of office life that remains funny, familiar and uncomfortably true. Fifty years on, audiences still laugh at the play that broke new ground for NZ comedy with its pointed portrait of public-service life. where monotony, memos and petty power plays are exposed with witty comic ease. Of course, Roger Hall was working as a public servant at the time this, his first, play was conceived. This is NZ social history – and NZ social comment!

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Hall observed in 2007, on the play’s 31st anniversary, that while much of the detail may now seem dated, “a middle-aged audience or younger finds it both historically quaint but also appallingly familiar. Bureaucracy usually remains a thorn in everyone’s side from whatever era, and in the end it is about very real characters that everyone recognises.”

And this remains unmistakably true in 2026. Glide Time operates inside the stores branch of an unnamed government department in Wellington — anonymous, airless and achingly recognizable with filing cabinets, sign in time sheets, personally accountable numbered chairs, brown paper wage packets (with real cash), sacred tea breaks with tea trolleys, dial phones that ring but no one wants to answer, memos and updates, and orders for everything! “You have to order the order forms on an order form.” In this office, no one wastes their tea or lunch breaks with personal calls or personal business. “I can’t talk now, Mum. It’s tea break.” In this office, nothing really ever happens, and everyone rationalises the very slow pace of delivery of goods on shipping delays. We all know about that “Public Service Walk” with a paper in your hand. These days I am told it’s a device.

From the opening complaint, “Wellington. I hate you. God let this office be de-centralised,” the place is instantly fixed: wind-whipped, work-bound and weather-worn. The people are just as recognisable. Each member of the ensemble offers more than an archetype; these are skilled performers who pace, punch and propel the play, landing lines with panache and motivating movement with purpose. Satire uses wit, irony and humour to expose corruption, foolishness and flaws in systems.

Jim, the office cynic, has stayed too long, stalled too often and settled too deeply into grievance. He hopes for promotion while avoiding work, filling the day with TAB calculations and Playboy magazines. His casual prejudice now lands with a sharper sting: “Women don’t want to be liberated – they just want to be bossed by a man.” John Palmer gives an outstanding characterisation, capturing both the swagger and the sadness beneath it. Jim is lazy, sexist and racist — “you lot, and those from the islands, if you don’t like it, you can just go back home” — but Palmer also reveals a lonely, loveless man damaged by a broken marriage and a son who wants nothing to do with him. The performance has real psychological precision, physical truth and painful depth.

In this office, there’s also Welsh Hugh, who came out to NZ hoping for a better life, with a wife Bronwyn who just wants to go back home. He spends his time driving his family to all of their activities – “God’s punishment for a station wagon.” Superb work from Jimmy Carrick who never ceases to amaze audiences with his repertoire of accents and skilled portrayal. And there’s reliable Beryl, 40s, still living under the thumb of a demanding mother, hoping that life might deliver more, a victim of society’s expectations – organizing the social funds, the magazines and expected to pour the tea. Christina Cie brought out every nuance in this role, with her superb facial expressions capturing romance, frustration and desire. Ngahere Hedlund is excellent as Michael, 17 years old, an eager office junior, keen to visit the typing pool on the third floor, Christian, but still tempted by the cute smile and ample bosom of Tina. This role is a good example of how satire makes hard topics approachable – using laughter to help people process difficult or taboo subjects.

As an office, this is understandably a static environment, but the stage certainly came to vibrant life with each of Wally’s entrances and without a doubt, John’s dramatic “death” was an audience favourite. However, satire has the ability to make constructive social criticism and the roles of Wally ( Chris Smith ), the Boss (Albie Smith), John (Zac Russell) all encourage the audience to look through the absurdity, to think critically, and to recognise the ridiculous.

Should you go and see this? Absolutely. You will love it.

How often do you really get the chance to laugh out loud?

Book early – it will sell out for sure. It’s on at The Pumphouse Theatre til October 2.

Nominate your favorite local productions and performers before the deadline on October 31, 2026.

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_Originally reported by [BroadwayWorld](https://www.broadwayworld.com/new-zealand/article/Review-GLIDE-TIME-by-Roger-Hall-20260929)._