Culture Writer Heidi Downing reviews Cowbois, praising the writing of this new queer Western and applauding the cast’s performances
Cowbois is an exciting piece of new writing by Charlie Josephine (who also co-directs the play with Sean Holmes) being performed at the Royal Shakespeare Company’s (RSC) Swan Theatre for a limited five-week run. This play uses familiar Western genre tropes whilst seamlessly exploring many relevant themes such as gender, family, power, and queerness, adding a unique twist to the genre that is palatable for many modern audiences. The performance opens with a traditional Western setting of a saloon, filled with atmospheric taxidermied animal heads mounted around the stage to immerse audiences into the scenery.
Cowbois is centred around the protagonist Miss Lillian (Sophie Melville), who acts almost like a matriarchal figure maintaining calmness and order amongst her friends once all the men have left the town. The play tells the story of how the lives of these women get turned upside down when an unexpected guest from ‘Wanted’ posters arrives at the saloon, enabling the characters to rethink perceptions of gender and their own relationships in a revolutionary fashion. There is a harsh contrast between an almost queer utopia at the end of Act 1, which uncomfortably shifts to the humbling realities that greet the second half of the play, ultimately creating a grippingly emotional treat for any audience member.
The casting choices for Cowbois are electric and magnificent, particularly in the introduction of each character onstage for the first time. Emma Pallant excellently portrays Sally Ann, using comic characterisation choices that have the audience hooked with laughter from her first interactions with Miss Lillian. Another applaudable example from the cast is Lucy McCormick playing Jayne, who has one of the most interesting character arcs throughout the story. McCormick is powerful in manoeuvring between light-hearted moments to deeper revelations on identity, showcasing her range as an actor. Both McCormick and Pallant are absolutely brilliant with their larger-than-life facial expressions and incorporation of the fan prop in early scenes of the play that helped establish recognisable Western characteristics.
Vinnie Heaven steals the show by bringing raw charisma and swagger to the character of Jack – a character who cleverly blurs both the boundaries between good and evil as well as the boundaries of gender. One of the most touching and clever scenes of the show is a moment of intimacy between Jack and Lillian. The way intimacy is communicated through a combination of physicality, lighting, and costume design feels unique and refreshing. This scene is beautifully written to highlight and normalise consent, as well as to create a fluidity of gender expression. There is a sparkling chemistry between Heaven and Melville onstage, which helps invite the audience into their world of intimacy and immerse them into the developing romance themes.
There is clever attention to detail in Cowbois provided by all members of the production team, which helps transport the audience to the Wild West. The band is excellently incorporated into the performance, and the Western style music really enhances the scenes. A notable example is the music director Gemma Storr, who seamlessly swaps between a variety of different instruments throughout the performance, including the banjo and the harmonica. All the musicians are embedded into the story by wearing Western dress. The music is also beautifully arranged within larger cast scenes to showcase a high level of energetic choreography, which combines traditional Western dancing with Vogue.
Overall, Cowbois is a must-see show that creatively reinterprets Western tropes for a modern queer gaze. The RSC are also doing a new ticket initiative with £10 tickets for 14-25 year olds, a perfectly affordable treat for many student budgets.
Rating: 5/5
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