REVIEW: Cowbois

My first encounter with Cowbois was on Instagram, desperately scouring the audition notice for a role I may be able to apply for - I was devastated that I wasn’t right for any of the parts because who wouldn’t want to do a play about trans cowboys? So finding myself in the foyer of The Seymour Centre surrounded by cowboy hats I was incredibly excited to finally see Cowbois - and it did not disappoint.

The show opens to a live band (Clay Crighton, Nicholas Hiatt, Zachary Aleksander, Aisling Bermingham and Nelson Fannon) playing the typical honky-tonk style music in the midst of a gorgeous saloon set by Emelia Simcox and Eva Fielding. Clay acted as musical director, composer and lyricist for this production and what a stellar job they did! A fully original score plays almost consistently throughout the play, adding a filmic type underscoring that enhances the action on stage in an incredibly slick manner. The band is visible, and it was captivating watching the multi talented musicians swap instruments throughout the piece.

Photo by Alex Vaughan

Emelia also costumed this piece and the visuals were one of the highlights for me. Beautifully aged with an abundance of colour and texture, both costumes and set were of the highest of standard and were an absolute joy to look at for the two act play. Additionally Brockmans lighting was dynamic and creative, easily transitioning the audience from gritty realism to trippy dream sequences and back again.

Cowbois is a true ensemble piece and it’s a credit to this cast that I genuinely couldn’t pick a stand out performance. A large company comprising of Matthew Abotomey, Zachary Aleksander, Jules Billington, Emily Cascarino, Faith Chaza, Branden Christine, Clay Crighton, Nelson Fannon, Lara Files, Nicholas Hiatt, Ollie Jenkins, Beau Jordan, Rory Spinks, Henry Lopez, Amie McKenna, Eddy O’Leary and Jane Phegan. The acting was excellent, transitions were tight, and the entire company felt beautifully cohesive. We had a brief show stop half way through act two and yet the cast remained present and professional, handling a potentially unsettling situation with ease. Despite the tricky subject matter this company left the audience feeling safe - which isn’t easy to do.

Photo by Alex Vaughan

Danica Lani choreographed this piece, adding some absolutely breathtaking moments of movement. The movement was stylised and integrated fully into the world, deepening both the levity and drama of the piece. Alongside the cast, Charlie Josephines script truly felt like an additional ensemble character - living and breathing itself. Nuanced, deliberate and thoughtful - not a word was wasted. A truly refreshing script that felt as contemporary as it did classical, blending genres in a fascinating and insightful way.

Kate Gauls direction was bold and brave, taking a tricky script and delivering a piece of theatre that felt truly cohesive. With many moving parts it would be easy to feel lost in a piece like this but under Kates hand there wasn’t a dry eye in the house by the end. A vital and vibrant piece of theatre that feels truly necessary in our current climate - I’m so grateful Cowbois exists and I would recommend it to anyone. Yee Haw.

5 Stars

Click here for tickets to Cowbois at the Seymour Centre until 13th December