Trophy Boys: quick links
Trophy Boys is inspired by historic allegations of rape against former federal attorney-general Christian Porter, the alleged victim of which committed suicide in 2020.
It concerns four privileged private schoolboys who are destined to become Australia’s future politicians and business leaders.
Written by actor and playwright Emmanuelle Mattana, it depicts the boys in a multifaceted – even sympathetic – way, but at the end of the day, there’s no disguising that they’re odious little shits, mired in hypocrisy, sexism and toxic masculinity.
Herein lies the appeal of Trophy Boys – and its importance, too. In a country facing a crisis of violence against women, with one woman killed every four days, not to mention innumerable rapes, this is an exceedingly relevant play.
Trophy Boys: subverting gender
It’s important to note that, in much the same way as Othello at the Flight Path Theatre is currently being played by an all-female cast, all four characters in Trophy Boys are played by female or non-binary actors. The creative choice highlights how gender is constructed and that it is, in part, performative.
David (Leigh Lule), Jared (Fran Sweeney-Nash), Owen (Myfanwy Hocking) and Scott (Gaby Seow) comprise the Year 12 debating team at St Imperium, an exclusive private boys’ school.
We meet them an hour before a debate against their sister school. They’re cocky about their prospects; certain they’re shoo-ins to win. That is, until they learn the topic of the debate – ‘That feminism has failed women’ – and that they’ll be arguing for the affirmative.
The boys are appalled by this development. Not because they believe in feminism (although they claim they do) but because of the optics of arguing against it.
Owen, who fancies himself as a future prime minister, is even concerned that arguing against modern feminism might blow up his chances of one day taking the top job.
And then a bomb drops on the boys. While they’re discussing how to navigate this problem, they learn that one of them is accused of sexual assault (exactly who is accused is unknown). Soon, they’re in a maelstrom of victim-blaming, blaming each other, accusations and justifications, during which their true feelings about women come to the fore.
It’s confronting, disturbing and oh-so-realistic.
Trophy Boys: Creative choices
While Trophy Boys is a worthy work, worthiness is not artistry – and vice-versa. Some creative choices in this play, directed by Marni Mount, are questionable.
Several brief interludes, during which the boys dance on tabletops, while the lights pulse and strobe, are apparently meant to be funny but just seem silly. (Though, to be fair, many people did laugh – and the scenes give lighting designer Katie Sfetkidis a chance to show off her skills.)
At times, the play, which is crammed into 70 minutes, also seems a tad rushed.
But overall, this is a thought-provoking work, which is entertaining in its lampooning of privileged male attitudes.
Read: Gospel According to Paul review: Biggins does Keating at State Theatre Centre of WA
The fact that Trophy Boys is doing another round of Australian theatres after its 2022 debut at Melbourne’s La Mama Theatre – and various stagings around Australia and overseas – speaks to its continued relevance.
Trophy Boys is presented by Soft Tread Enterprises and will be performed at Carriageworks, Eveleigh NSW, until 3 August, followed by Riverside Theatres, Parramatta NSW (6 to 9 August), Arts Centre Melbourne, Melbourne Vic. (12 to 24 August) and the Queensland Performing Arts Centre, Brisbane Qld (25 to 30 August).
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