If you’ve ever worked in retail, the opening of Stocktake will be all too familiar: endless piles of clothing to fold, customers who think they’re above retail staff, those demanding a refund when, no, they don’t have the receipt. In playwright Jess Zlotnick’s hands, life in a fast-fashion women’s clothing store takes an absurd turn, blending comedy with horror.
The store employees, known as the Teamies, each embody a specific archetype. Manager Heidi (Lib Campbell) delivers death stares and dry one-liners. Fin (Megan Elizabeth Kennedy), is the overzealous, eager-to-please employee who lives for work. Ash (Bridget Haberecht), has endured six long months and is sick of taking on more responsibility. And new girl Jess (Lucy Xingwang Dunning), might be on her first day but she has better places to be. Then there’s Karen (Kate Skinner), the aptly named snotty customer, snapping her fingers and of course, demanding a refund.
The cast all excel at conveying the frustrations of customer service, often communicating through gritted teeth and forced smiles. As Ash observes, “fake smiling is murder on the cheeks.” Kennedy, the audience favourite, brings her eccentric side in this role, with a spring in her step, enunciating articulating each word and even showing off her gymnastic skills.
Zlotnick’s script is genuinely funny, particularly during the “courageous criticism training” session. What begins as an exercise in constructive feedback, both positive and negative, gradually unravels as jaded observations giveway to reluctant confessions, culminating in a catharitic outpouring of workplace grievances.
Alice Vance’s set design establishes a believable retail environment, with clothing racks, shelves and piles of garments filling the space. A message on the wall, “achieve your dream of looking like everyone else”, hints that something sinister is behind the store’s bright facade.
Caity Cowan’s harsh fluorescent lighting gives way to eerie darkness, while Harry Reid sound includes the ominous, malevolent voice of the Regional Manager. At times, the effects are so immersive that the theatre seats seem to shake.
Directed by Tasha O’Brien, the production is energetic and engaging, with moments of physical comedy and a brilliant dance sequence, that deserves a repeat performance. As the absurdity escalates into horror and gore, the audience visibly recoils, accompanied by gleeful laughter.
While the shift from comedy to horror is effective, the production could benefit from a tighter edit, as the final scenes feel drawn out.
Zlotnick suggests that the play explores how workplace pressures can erode personal values: “I think the play suggests that in a system that pits us against each other to survive, it becomes really hard not to cross that line of compromise. I think we all have a version of ourselves we’d like to be, and values we want tp uphold, but those values can be weakened in the reality of needing to make ends meet!”
Zlotnick hopes audiences who recognise their own workplace in the production might leave contemplating their next move. “I hope that if their job is anything like what they see on stage, that they’re thinking about quitting,” she says.
“All jobs require a level of sacrific and compromise of your spirit, ” she says. But how much are you willing to give up?
Darkly comic and packed with laughs, Stocktake is a shift worth showing up for.
3.5 stars
Presented by Belvoir 25A Stocktake is playing at the Downstairs Theatre, Belvoir St Theatre in Surry Hills Sydney until 25 October 2026.
Run Time: 85 minutes (no interval)
WARNING: This production includes coarse language, horror themes, use of fake blood, body horror, strobe lighting, haze, and total theatrical blackout.
For tickets visit Belvoir St Theatre Book Now
Looking for a pre-show bite? Regina La Pizzeria and Foreign Return are located close by. For more suggestions, check out Bites & Sips.
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