BOYS’ LIFE by American playwright Howard Korder scrutinizes in short scenes many conflicting issues and confidence levels present for both men and women as they mature. It traces trajectories of experience in relationships for three long-term friends named Jack, Phil and Don. This Pulitzer Prize nominated piece dangles questions concerning the validity of traditional attitudes, rites of passage and the concept of the man-child.

This is the first production for a new Sydney theatrical identity, Wolfspider Productions. It is an appropriate choice for the collective of young artists, which aims to provide a platform for emerging young actors and production teams. The freshness and directness required in Korder’s play about twenty-somethings are essentially captured with success here. The series of interactions between believable, well-cast characters have been given suitable forward momentum and atmosphere by first-time director Barry Walsh.

American accents are abandoned for this version, though a quantity of American language remains, such as imperial measures, delivered in Australian accents. However the most penetrating and universal accent deals with the maintenance of a larrikin boy-turned-man persona. In this area, Andrew McGregor’s consistent portrayal of Jack’s familiar youthful married man is a humorous success. His brief suggestion of darker contrasts are revealed with chilling reference to heartbreak.

Stuck in their individual but equally significant ruts are Jack’s friends Don and Phil, played by Charles Alexander and Michael Howlett respectively. The script and their focused characters entertains and allows candid interaction with members of the extended ensemble. The piece is thought provoking and the struggles with women and the daily frailties of mood are convincingly portrayed.

Of all nine ensemble characters, special mention is to be made of Ellen Harvey’s powerhouse approach to Don’s girlfriend Lisa. Her clear, well-paced but feisty delivery of Korder’s acerbic poetry ruthlessly opposes Don’s male ego. As something of a femme fatale, Harvey’s performance gives the stirring this human soup requires. Her moments with Don are extended when compared to other couples and the chemistry created by these actors fluidly conveys key issues.

Michael Howlett’s painting of the complex construct of Phil is another commendable cornerstone of this capable cast. His accomplished vocal range and manipulation of the element of surprise is effective. Satisfying are his frenetic depictions of anxiety, postural lethargy or depressive intensity.

Good use of changed lighting and inventively mixed contemporary music mask the rapid set changes. The many different shifts to and from and back to locations and regular meeting spots are always managed in a slick and detailed fashion.

Wolfspider Productions succeeds on several levels with its first production. Above all is its transporting this sometimes unsettling but important play to our city, as well as presenting to audiences the talents of a young cast with great potential.

BOYS’ LIFE can be seen in its final performance at the King Street Theatre, Newtown on Fri 22 August, at 7.30pm.