“Quirky, engaging and often funny, yet the pain of being punished for not fitting into some sort of heteronormative code remains ever-present.”
Kate Stratford
4 Stars
Venue: Reginald Theatre, Seymour Centre
Sydney
Dates: Until 13th December
Charlie Josephine’s Cowbois has tumble-weeded into town.
It is 1880-something and somewhere in the Wild West is a little town with a little saloon and no men – apart from an alcoholic sheriff. The men abandoned the town and womenfolk to go prospecting for gold and the women have adapted to life without them. Then Jack Cannon arrives, on the run from the law, bounty hunters and Toothless Tommy’s gang and -well – there is just something about Jack. Hearts and loins are set aflutter. Real desires and passions are discovered. The saloon becomes a celebration of true self. And then the men come back. Without gold.
Brockman’s lighting design transitions from glorious technicolor to an unforgiving stark white with their arrival. This is no longer a happy place but a cruel one. Indeed, Emelia Simcox’s production design is considered and stunning. Costumes are layered, textured and detailed (down to the spurs on the Sherriff’s boots) and are somehow not only the dusty colours of the desert landscape but a dusty version of the rainbow emblem of the LGBTQIA+ community. The women’s shoes transition from serviceable workwear to glorious boot-scootin’ accessories. Petticoats are no longer calico but reveal the character of the wearer. The narrow-minded are equally narrow in their colour palette. Quintessentially, the saloon set is every saloon in the Wild West and the heart and soul of the town. It is all a visual feast.
As Jack Cannon, the harbinger of change, Jules Billington brings a strong David Bowie / k.d. lang vibe to the role. Their unapologetic androgyny, subverting traditional gender norms and the male gaze makes the non-conforming gender presentation very charismatic and compelling. Against the control and dominance exhibited by the returning males, Billington’s Jack offers a take on how power can be wielded in ways that are both strong and positive, focusing on qualities like courage, responsibility, integrity, and kindness.
Kate Gaul’s direction is playful and skilled. She never allows the many issues to overwhelm the basic through line. And the piece touches on many, many themes – something for everyone really. Watching Sherriff Roger’s (Matthew Abotomey) unhappy decent into alcoholism as the gun is held to his head by a very toxic and scornful Frank (Nicholas Hiatt) is heartbreaking. The topic of consent is given a very funny treatment when Lillian’s (Emily Cascarino) core passion over-rides her socially imposed primness. There are flashes of racism, ignorance, domestic violence and various intolerances. And of course, the outlawing of gender bending. But no preaching. Just exposing them to the light of day through the motif is enough. The performance at the moment is a little uneven in pace and energy but the rhythm is close and will come as all settle in. The Western metaphor includes, of course, a shoot-out and kudos here to Gaul and choreographer Danica Lani; co-ordinating gunshots with running action is incredibly time demanding but results in the necessary chaos and character revelations.
Many of the cast double as actor/musician and in some small way, a dancer. Always impressive. The large cast and crew dance and sing their way through some moments but this is not a musical. A play with some singing and dancing and highly effective sound effects (Aisling Bermingham), it takes the confrontation out of the message and leaves a bitter-sweet taste. Like the grits served for breakfast. Another metaphor. You take your grits plain, sweet, savoury or a bit of both?
Quirky, engaging and often funny, yet the pain of being punished for not fitting into some sort of heteronormative code remains ever-present. Frank may have banned politics from his bar, but theatre is a very political animal.
No doubt it will receive support from the LGBTQIA+ community, but it could be the very thing to take the binary community to. If you can.
4 gunslingers
Kate Stratford, Theatre Now
