Writer: Charlie Josephine
Directors: Charlie Josephine and Sean Holmes
Some pieces of theatre defy description or easy categorisation. Some pieces defy convention.
Sometimes this is not the initial intention of the creators. But in the case of Cowbois, defying convention and rejecting norms is absolutely at the heart of the project. That defiance is both political and beautiful.
Written by Charlie Josephine (who also co-directs with Sean Holmes), it is an unashamedly Queer take on the Western. The Swan Theatre is transformed effortlessly by designer Grace Smart into a tavern in an isolated town in Middle America where all the men have gone off to find fortune in the Gold Rush. After a year, the women fear that they may not return having been lost in a mine explosion and are now finding ways of rebuilding their lives and community.
A dark and handsome stranger by the name of Jack wanders into the tavern seeking refuge from his pursuers and, over the course of time, Jack transforms the lives of the residents in unexpected ways. Things change again when the absent men return. But to say much more would be to deprive future queues of the chance to experience the twists and turns for themselves.
The production has much to say on a broad range of topics including gender expression and identity, consent, toxic masculinity and many more issues of contemporary concern. At times, this can feel slightly heavy-handed but at others, such as the intimate scene between Jack and Miss Lilian at the end of the first half, it is lyrical and transformative.
The performances are universally strong. Sophie Melville leads the company and the community as the bar owner Miss Lilian with warmth and a growing inner steel. Emma Pallant steals many scenes as Sally Ann, the most uptight member of the town who discovers her own strength and liberation as the action ramps up.
Vinnie Heaven captures the allure of Jack perfectly. It is very easy to see how the town falls under his spell. LJ Parkinson comes very close to stealing the show with a barnstorming performance.
There is sterling work from the live musicians who add much to the atmosphere and energy of the production. The singing is characterful and, in the case of Bridgette Amofah (Mary) particularly powerful and emotional. Jennifer Jackson’s work as Movement Director is another highlight bringing key moments to life in unexpected ways.
The piece is not perfect as is true of any work of art. The script could be tightened by ten minutes and there should be less reliance on telling rather than showing. The first half, in particular, is rather too heavy on direct exposition. The direction is occasionally uneven in tone with characterisation bordering on the cartoon-like where a less broad playing style would have been more appropriate.
But having said that, it is impossible not to be swept up by the vigour and heart of the show. The second half leaves the audience almost breathless as the action hurtles forward. And you have to be very cold not to respond to the open-hearted affirmation of the right for every person to live and love in their own way. The near complete standing ovation is testament to the overall success of the production.
It is a genuinely funny and affirming piece of theatre-making. It is also unlike anything you will have seen before. And all the better for being so.
Runs until 18 November 2023
