Boys Will Be Boys

In her 2015 playscript Boys Will Be Boys, established Australian playwright Melissa Bubnic has penned an anti-fable focusing almost entirely on soulless corporate vampires who get what they don’t deserve.  (And if a couple of them evidence thoughts and feelings beyond their naked ambitions, it doesn’t alter their decisions or what they didn’t deserve.)

The play’s characteristic elements include its characters’ competitive amorality; musical numbers that shed light on its central character; and frequent, rapid scene changes.  Didactic as much as dramatic, though, and with little plot, the play can maintain audience interest only with strong direction and production.

The Street’s audiences have struck it lucky on both counts.  Imogen Keen’s set design did a spectacular job of combining interest and versatility; Kimmo Vennonen’s sound design well suited it; and, taking advantage of the well-controlled sound, the cast’s tuneful singing of appealing songs (under the musical direction of Jess Green), with accompaniment by Stuart King on live guitar and a couple of recorded instruments, blended some very interesting harmonies well.  Lighting and sound were well-controlled, and entrances and exits made dramatic use of the frequently changing set.

The greatest gift of all to the audience, though, may have been the consistently natural acting.  It’s not easy for somebody who happens to be very obviously female to have the audience believe that her character is male; it may be tougher still to believably portray a hardheaded Wall Street player.  But, under the masterful direction of Caroline Stacey, the entire cast pulled off a convincing performance of merciless corporate rough and tumble.

John P. Harvey

Image: Isha Menon, Joanna Richards, Pippa Grandison, Kiki Skountzos, and Dianna Nixon, in Boys Will Be Boys.