Jonny Hawkins is a revelation opening up the little explored world of truck driving in the one-man show Truck Driver that has premiered at the Sydney Opera House.
This self-confessed “limp wristed gay kid from the Central Coast” has taken a deep dive into the ultra-masculine world of long-haul truckies, and has come up with an eighty-five minute show that is part self-confessional, part rant and with a surprising insight into the lives of these road warriors who keep our nation supplied and connected.
To prepare for the show, Hawkins obtained his truck licence and interviewed around 30 drivers, taking Hawkins into a world that was as alien as it was revelatory in order to become the character of Bev; just don’t call him Beverly.
While Bev is an amalgam, the character is wrought large and fully fleshed by the rangy Hawkins, who sports a mullet any footballer would be proud of, prowling the rig while communicating in an accent that is pure working class Ocker.
Seldom has a character been so well-drawn and as engaging, as we first see Bev lamenting the newly enforced speed limits on the Northern Territory roads. Just as he is explaining what it is like to pull a rig at speed, a Nissan Skyline passes at 150kph and the chase is on.
Bev’s sense of ownership of the road is being challenged and the tension mounts as the speed is illustrated by a strip of light on the rear stage with increasingly frequent white flashes.
But Bev is not all anger, and during the duration of the show many subjects are encountered and explored, some with a sense of discomfort such as the increasing lack of connection to the servos on the routes, and in particular the 1997 Razorback Blockade when Ted ‘Greendog’ Stevens and others over grievances about government road taxes.
Another ongoing grievance is even longer running, and concerns his ex-wife and ongoing child access. The arrangement is “she gets Xmas and I get the birthdays” – but as time goes by Bev feels the need for a more stable arrangement and better communication other than telephone calls.
Bev is also capable of great introspection, such as when the connection that First Nations people feel about the land is similar to what many truckies share, and as they pass through the ever-changing landscapes questions of climate change are raised.
A poignant moment comes when Bev takes a hitchhiker on an unexpected detour to a magic spot to watch the sunrise.
Hawkins dominates the stage throughout, often speaking directly to the audience and engaging them directly while sharing sweets with them. Bev is a reminder of a country that is fast disappearing, and Truck Driver raises questions about the values once held dear, while also having a foot in the future and the need for change.
In the guise of the arch conservative, Bev is also an agent provocateur, making us question our safe concepts of the world we inhabit. Hawkin’s concept and script for Truck Driver is brought to the stage by director Nell Ranney, a long-time collaborator, who has given brilliant business to the character of Bev on a limited set.
The set by Isabel Hudson is a well-conceived miniature truck and its dog trailer, from which Bev delivers much of his performance. Hudson has also done well in Bev’s minimal costume of tight shorts, boots and a bluey which adds to the authenticity.
Lighting from Nick Schlieper is well executed in defining various times of day and night, and his use of the strip of variable coloured lights at the rear of the stage to suggest the speed of Bev’s truck is ingenious in its simplicity.
Steve Toulmin’s sound is striking as it provides a sense of the monotony and tyranny of distance as Bev’s rig tears up the highway, day after day, night after night.
With Truck Driver, the producers Soft Tread and Hawkins have a hit on their hands, and one that can be added to the canon of great Australian stories.
Truck Driver
Studio – Sydney Opera House, Bennelong Point, Sydney
Performance: Wednesday 17 June 2026
Season continues to 20 June 2026
Information and Bookings: www.sydneyoperahouse.com
Images: Jonny Hawkins in Truck Driver – photos by Daniel Boud
Review: John Moyle