Jonathan Biggins' 2012 comedy is in the firm tradition of popular Australian comedy (particularly the David Williamson pieces so beloved of the various state theatre companies during the 90s and 2000s) - there's a mix of people gathered, issues of national importance that are brought down to tribal loyalties (indeed, Williamson's favourite word, "tribe", shows up here again), and a couple of moments where people get up on their hobby horses or have an emotional breakthrough of some kind on the way to a tidy conclusion.
Biggins is, perhaps, a wittier writer than Williamson, with a lot of great one liners springing back and forth across the stage. But there are a couple of rough edges in his plotting, particularly in the moments where a serious moment tries to intervene, and Rep's production doesn't always smooth over those rough edges as much as it might.
Acting honours tend to accumulate at the older end of the cast. Neil McLeod as the cantankerous and uncensored Wally gets the most of his "I can't believe he just said that" lines, albeit occasionally softening up just a little too much, perhaps, when the plot turns sentimental. Micki Beckett's Marree is the perfectly gentle CWA representative, with an essential befuddled innocence about her. Sarah Hull as the Greens representative gets a large chunk of the plot and a minimum of the jokes, but represents the character well as she starts to realise how down and dirty in politics she's going to have to get to succeed. Pat Gallagher tends to get the other half of the plot, and often is everybody else's straight man, but he has an endearingly shifty way about him that helps the plot get through. Jonathan Lee gets a grand set of jokes and delivers them well, although he also carries very little plot. Thomas McCoy as Gallagher's mordant sidekick unfortunately falls a little flat during the denouement, which as written should be his moment to shine - you never really get the sense that anything about him has been changed as a result of the events of the play.
Cate Clelland's sets capture nicely the realism of a scout hall and a tent, although the blocking around the meeting table is a little odd - if you're going to spread out the table lengthways (and the proportions of Theatre 3 kinda require it), why are people sitting downstage of the table with their backs to the audience? Heather Spong's costumes delineate character well, including Beckett's ridiculous animal costume.
This tends to be the kinda piece that works better as a set of jokes then necessarily as a stringent commentary on the state of the nation, with a middling plot along the way. And as a set of jokes, it's very funny. But there's not a lot behind the laughter to stick around with me.