Review: God's Cowboy at Flightpath Theatre

Review by Scott Whitmont

Timed to coincide with the Mardi Gras season, God’s Cowboy, a new play by longtime producer/director Les Solomon, is attracting audiences from across Sydney, particularly the LBGTQIA+ community.

Ably directed by Ella Morris, it follows the lives of actor twins Peter (Nathaniel Savy) and Penny (Sophia Laurantus) who narrate the story in flashback, recounting their sometime fraught and passionate backstage relationship with their co-star, the bisexual ‘cowboy’, Daniel (Max Fernandez), who sets his sights on wooing both of them.

Bouncing between provocative, moving, sexy and funny, this triangular love story soon reveals numerous surprises and dark undertones as each character explores their identity, professional development and life goals.

Daniel is enamoured with Rogers & Hammerstein’s Carousel. In its story, we see that there is often abuse in so-called “loving” relationships. This is echoed in God’s Cowboy, with Fernandez delivering a Daniel who at first seems rough and egotistical but gradually reveals a softness, charm and emotional vulnerability, particularly in the play’s second half. His internal battle to overcome abuse from his past and break the cycle is evident, and Fernandez reveals it with sensitivity and aplomb.

Savy’s Peter brings an emotional maturity, honesty and a welcome energy to the play and the audience can’t help but warm to him. Clearly classically trained, his solo dance piece was skilful and a joy to experience. (Hats off to Choreographer Riley H. Hopkins).

Penny’s role is often the one of narrator. Laurantus’ performance is strong, delivered with warmth and charm, but one is left feeling that her character is underutilised.

The three lead performers are ably supported by Tate Wilkinson-Alexander as the lascivious villain Demetrious, who cares little about who he may hurt.

The cast, generally, are strong in the delivery of God’s Cowboy ‘s overly long script. On opening night, however, the pace of dialogue often flagged, with an excess of pregnant pauses. No doubt this was an early season problem that has been ironed out as the month-long run of the play has progressed.

The play’s second half is certainly stronger and better structured than the first, allowing the audience to connect emotionally and relate better to the characters.

Lighting by Kyle Stephens is cleverly varied with a combination of flickering fluorescents, strobes, colour traces and strip bulbs all used to great effect for the small space of the Flightpath Theatre.

There is much to mull over in God’s Cowboy: abuse, power, identity, lust and desire. As did this reviewer, you will likely discuss and argue over its multiple messages with your companions long after you leave the theatre.

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