All the men have left a Wild West town to search for wealth and riches, leaving the women to run the saloon, safeguard the town’s morals, provide harsh veterinary treatment and manage the town’s only remaining male, the drunken sheriff. The bible quoting Sally Ann (Jane Phegan) bursts into the saloon exclaiming that she has sighted the ferocious, handsome, and gorgeous singing bandit, Jack Cannon (Jules Billington). Sally Ann is flustered and overwhelmed by this striking vision. This is the same Jack Cannon that features on the wanted poster prominently displayed in the saloon. The women in the saloon share tales of Jack Cannon’s incredible exploits and his vicious feud with his nemesis Toothless Tommy (Zachary Aleksander) and his gang. Gun toting Jack Cannon bursts into town and overwhelms the quivering women and tells them not to be expected to be saved by their sheriff as Jack has disarmed him and locked him in his own cell to sleep off his inebriation.
There is something different about Jack Cannon and as the charisma and identity of this enigmatic character come to light a change comes over the various womenfolk of this frontier town. Jack instils in the individuals a confidence to accept and challenge identity, power, and possibility. The central tenet of this awakening focuses on gender and sexuality but it also extends to racism, ignorance and other bigotries. The topic of consent is given a very sexy treatment when Miss Lillian (Emily Cascarino) sheds her do-gooder persona for her passionate side. The clothes that an individual chooses to wear, the person that someone falls in love with and one’s role in the town should not be determined by society. The nobility of these ideas is tempered by some harsh reality in the second act when the loud, the boorish and crass accepted behaviours are displayed and reveal the difficulties posed for people outside the heteronormative orthodoxies.
Writer Charlie Josephine’s story is supported by some excellent musicians and songs, fittingly in a country and western vein. The singing and dancing add to the show and don’t overwhelm it. COWBOIS is more a play with music, rather than a bunch of song and dance numbers cobbled together with a weak storyline.
There are great comedic highlights scattered through the show. Jack’s posturing and showmanship adds to the humour and the Kid (Rory Spinks on opening night), the effervescent son of Mary (Branden Christine) adds light and joy to the show. Bounty hunter Charlie Parkhurst (Clay Crighton) is over-the-top hilarious. Clay is also one the musicians, composer, lyricist and musical director.
Director Kate Gaul has done an excellent job bringing variety, energy and poignancy to this long play (three hours including intermission). She balances a great mixture of ideas, action, comedy, music and romance with consummate skill.
The large cast and crew have delivered an impressive production. I’m always impressed by those who double as musicians and actors. Special mentions to sound designer Aisling Bermingham and lighting designer Brockman.
A co-production by the Seymour Centre and the Siren Theatre Company, Charlie Josephine’s COWBOIS opened at the Seymour Centre on 22nd November, 2025, and runs until 13th December 2025.
