Boys Will Be Boys

Confronting, visceral, brutal this play jolts the audience into the not-so-pleasant world of the uneven gender battleground of big business – in this case the trading floor … stocks, currency, percentages.  It pulls no punches, allows no compromises. It exposes every possible dirty trick that can be played by unscrupulous men in positions of power – and every demeaning sacrifice ambitious women might be forced to make as they try to win “in a boy’s world”.

There is bad language, very, very near nudity, a belittlingly suggestive sex scene, harsh bullying. It is cutting edge writing that uses sledge-hammer tactics and exaggeration to make its point. But is it exaggerated? That’s the question that remains. Director Paige Rattray: “ The answer isn’t one that you or I would probably like … We live in a world where the system is set up for men … (Women) can play the game, but you can’t win it”.

Because of the subject matter, the language, the sleaze and the mixture of styles – hard-hitting narrative and cabaret – this play demands tough, tight direction and fast, impeccable action. Without it, the stinging, vicious impact of the play would be lost. This production has both in spades.

The all female cast works at a stiletto striding pace, scene upon scene, never losing the all-important tempo that must push the play past shock and disbelief to confrontation. Part of the ‘shock’ is that the two male characters, one an especially nasty chauvinist, are played by women. Paige Rattray: “We’re used to see despicable men behaving badly. What we’re not used to is despicable women behaving like men. That’s what the play is.”

The protagonist is Astrid. She is tough. She believes that to succeed you have to act like a man but look really sexy and available as you do it. Danielle Cormack plays her with harsh, brittle alacrity. She moves from aggressive, competitive trader to sexy cabaret singer with consummate ease, losing neither pace or timing as she shifts the character to reveal her struggle, and the double message of the character  - where women were in the 1950s and 60s … and where they are now. Cormack gives a  stunning and memorable performance.

Astrid leaves no doubt of her hardness as she mentors, Priya (Sophia Roberts), a young trainee. Roberts depicts the unsullied, optimism and naivety of Priya as she joins the company – then takes the character convincingly through the harsh realities of Astrid’s schooling, to reluctant acceptance, bitter betrayal and eventual retaliation.

Tina Bursill is brutal as the bully boss, Arthur. Tall and statuesque, she carries the character of the ‘suit’ with haughty elegance and engaging nastiness. She is a commanding presence on the stage epitomising the inherent malice of the character in every expression, every lift of the head, every measured, controlled stiletto step.

Meredith Penman plays Isabelle, a prostitute whom Astrid uses to lure and entrap Arthur. Penman finds the contrasting softness in Isabelle that the play needs to redeem the hard, viciousness of the other characters.

Zindzi Okenyo plays Harrison, the less-than-able young man whose father is one of the high players in the trading world – and is on Arthur’s ‘list’. This is the play’s little dig at the male nepotism that infiltrates much of the business world – whose son you are, which school you attended – and Okenyo plays the office ‘wimp’ believably well.

She also, bravely, plays another role – but to describe that in detail would give away one of the more shocking and suggestive scenes of the play …

Clever lighting (including a massive, spotlit glitter ball) by Ross Graham and a set carefully designed by David Fleischer, allow the action to move from office drama to imaginary cabaret to sleazy nightclub without marring the split second action that is so well directed and performed.

Fleischer’s costumes are very effective. All wear beautifully tailored suits that pinpoint the character. Astrid and Isabelle’s are white, Arthur and Priya’s  grey, Harrison’s a mustard check. Their leotards are just as stunning – and they all wear them with elegant ease!

This play is not for the faint-hearted. It is hard-hitting. It raises issues some don’t like to admit, others like to hide – and still others refuse to believe. It’s Brechtian in style – especially the character of Danielle – demanding of its performers and challenging for its audience. But it’s a great production and one for which playwright, director cast and crew should receive professional accolades.

Carol Wimmer

Images: Danielle Cormack, Tina Bursill  and Danielle Cormack in Sydney Theatre Company’s Boys will be boys. © Brett Boardman