★★★★☆
I had heard nothing but great things about Trophy Boys following its season at QPAC last year. Unfortunately, I missed that production, so I was looking forward to seeing PIP Theatre’s version, which opened officially tonight as part of MELT Festival.
I went in knowing very little about the story, other than that it had received plenty of praise. I quickly discovered that beneath the laughs, there was plenty to unpack with my housemate in the car on the way home.
Written by Emmanuelle Mattana, Trophy Boys follows four Year 12 students from St Imperium College as they prepare for their debating grand final. Their topic? “Feminism has failed women.” Their stance? Affirmative. You can imagine the position these boys find themselves in as they try to build an argument that might actually win.
Naturally, the brainstorming begins with a boy-band-style dance break. Complete with crotch-grabbing, strip-teasing and exaggerated masculine man-erisms, the choreography is a highlight. It is hilarious to watch but also introduces one of the play’s central ideas: masculinity is a performance, and these boys are determined to play their parts.
As the debate develops, the boys question everything from pole dancing to makeup and high heels, trying to prove they understand feminism better than the feminists themselves. What starts as a series of questionable arguments gradually reveals a lot more about the boys’ attitudes towards women, power and their own futures.
The ensemble works brilliantly together, capturing the energy of a group of teenage mates who constantly encourage one another, even when their ideas are questionable at best.
Tayla Rankine plays Jared, the self-proclaimed ladies’ man who repeatedly declares that he “loves women.” But you wonder whether he’s trying to convince his mates or himself?
With an absent lawyer father who outsources the cooking and cleaning, Jared highlights the contradictions between what men say about women and what they expect from them. Rankine brings an exuberant confidence to the role, which takes a noticeable hit when the accusations start flying.
Emily Liu brings plenty of energy to Owen, the brains of the group and a future prime minister in the making. Owen has an almost relentless need to win, and Liu delivers this ambition with ease, capturing the determination of someone who sees every argument as another step towards power.
Gabby Carbon plays David, the outsider in the group, whose position on the debating team is questioned by the others. David seems to exist on the fringes of the group. While Carbon fits into the ensemble, I left wanting to see more of their talents in a role that gives them greater opportunity to shine.
Stella Peterson’s Scott is the standout for me. Peterson’s delivery is excellent, and her captivating facial expressions make every moment count. There is a real confidence in her performance that drew my attention.
Things take a darker turn when an allegation of sexual assault threatens to shake up the group. Rather than seriously considering the accusation, the boys close ranks and begin blaming the opposing girls’ team.
Their concern quickly shifts from the potential harm caused to how an accusation could ruin their own futures in sport, politics, business or storytelling. The irony is hard to miss when men accused of sexual misconduct have continued to hold positions of power in these very industries.
The play does become quite wordy at times. The performers deliver their dialogue with such speed and energy that I occasionally struggled to catch every phrase to unpack the meaning behind it. It made me wish for a copy of the script to fully deep-dive!
Still, the relentless pace reflects the boys’ determination to dominate the conversation rather than stop and think about what they are actually saying.
There is another clever layer to this production, with female performers playing the boys. Director Anne Pensalfini is also a Drag King, and her program notes explore how drag makes the performance of masculinity visible.
Watching the cast exaggerate the gestures, confidence and behaviours associated with teenage boys makes you question how much of masculinity is learned.
By the end, the boys believe they can win simply by being more commanding, more dominant and more convincing. They don’t necessarily need the best argument; they just need to sound like they do. And that is where Trophy Boys really lands its punch.
PIP Theatre’s production balances laugh-out-loud moments with an increasingly uncomfortable look at male entitlement, group mentality and the systems that reward confidence over empathy. It might leave you laughing one moment and questioning that laughter the next.
Trophy Boys runs to 31 October July at PIP Theatre. 20 Park Road Milton Qld 4064.
Tickets: https://piptheatre.sales.ticketsearch.com/sales/salesevent/163766
Website: https://piptheatre.org/trophy-boys/
Socials: https://www.instagram.com/piptheatreau/
Photo credits: Kris Anderson
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