Cowbois

Cowbois is a riotous show about women left alone in a sleepy Wild West town while their menfolk go off to find gold. Life turns very queer when a famous bandit, the handsome and ever-so charming trans, Jack Cannon (an enigmatic Jules Billington) arrives in town.

Touched by Jack’s stardust and spirited arms-high dancing, the women crave him, some turn to each other for satisfaction, others thrill to dressing as cowboys. An alcoholic sheriff is the only male left but soon he’s on the wagon and into silks.

Siren Theatre’s resourceful production is staged on and around a thrust stage with period footlights, backed with opulently tasselled drapes and the irreplaceable bar. With Jack’s inspiration, the women are often dancing to Clay Crighton’s country rhythms and her band of four.

Cannon’s face is on posters everywhere, stating the obvious and calling them WANTED.  But it’s the pretty bartender, a spirited Emily Cascarino, who finally lands her trans in some artful love-making. 

Kate Gaul’s production exploits the wit and movement of Charlie Josephine’s play, which premiered two years ago in London, but the projection and pace of this first act is far too mumbled and slow.

Things though speed up with the return of the men, demanding wifely servitude and deeply suspicious of why their women are so queer. And why is the Sheriff (Roger James) in a dress? With stinging cruelty, they line up whiskies and force him back to the drink.

The group loyalty of the husbands fractures interestingly as everyone argues (rather didactically) about the legality and morality of homosexuality and trans identity. But this joyous romp has already proved its queer power.

The plot then wanders as another trans cowboy, a bounty hunter (Crighton), arrives. It then unravels further when more bandits interrupt with an endless gunfight which takes over the whole theatre. All is forgiven when they so exuberantly dance step to the end.

Cowbois is profoundly queer positive fun and with a cast bursting with toe tapping enthusiasm, and impressive performances also from Amie McKenna as the outspoken Jane and Jane Phegan fretting as the religious Sally-Ann.

Martin Portus

Photographer: Alex Vaughan