Venue: Seymour Centre (Chippendale NSW), Nov 20 – Dec 13, 2025
Playwright: Charlie Josephine
Director: Kate Gaul
Cast: Matthew Abotomey, Zachary Aleksander, Jules Billington, Emily Cascarino, Faith Chaza, Branden Christine, Clay Crighton, Nelson Fannon, Lana Filies, Nicholas Hiatt, Henry Lopez, Aimie McKenna, Edward O’Leary, Jane Phegan, Rory Spinks, Leon Walshe
Images by Alex Vaughan
Theatre review
Set in the Wild West of 1883, Charlie Josephine’s Cowbois introduces us to Jack, a fugitive whose sudden arrival in a quietly dwindling frontier town—its menfolk having vanished into the goldfields—sparks a quietly radical upheaval. Encountering only women, the handsome outlaw quickly finds that their initial suspicion melts away, even as he is forthright about being trans. Josephine’s 2023 play is a wonderfully fantastical reimagining of the Western, an exuberant, if at times didactic, meditation on gender, desire, and the myths that shape them.
Kate Gaul’s direction is spirited and mischievously playful, though the production would benefit from a brisker pace and humour honed to a finer edge. As Jack, non-binary actor Jules Billington delivers a riveting, impassioned performance that swiftly earns our allegiance. Equally compelling are fellow non-binary performers Faith Chaza and Clay Crighton, each articulating masculinity in strikingly different—yet equally resonant—forms.
Production designer Emelia Simcox excels across both costumes and sets, supplying everything necessary for us to recognise the genre’s familiar iconography while elevating it with a visual flair that sustains a satisfying sense of theatricality. Brockman’s lighting shifts deftly between warm, atmospheric glow and bursts of exuberant spectacle, lending the production an invigorating dynamism. The action is further enriched by an expansive soundtrack devised by Crighton, whose intricately crafted soundscape transports us wholly into the world the play conjures.
It is long overdue that queer audiences are offered stories in which inspiration and hope arise from something other than supplication or suffering. Such visions, like those in Cowbois, may demand audacious leaps of imagination, but they constitute an art we richly deserve. By coupling truth with fantasy, we begin to fashion new modes of self-determination, claiming the right to decide how we are seen—and, ultimately, how we choose to be.
Suzy Goes See 