Above: Max Fernandez in the role of Daniel, the play within this play’s ‘Cowboy’. Featured image: Nathaniel Savvy as Peter-the play within this play’s ‘Dreamer’ and Sophia Laurantus as Peter’s twin sister, Penny. Photos by David Hooley.
What happens when extreme damage collides with pure hope?
The feverish fireworks and fading fuse that result are well presented in this production of Les Solomon’s new local play, God’s Cowboy, currently in stunning post- development series premiere at the Flight Path Theatre.
The advent of any new Sydney-based theatre company is an exciting event. Little Stormy Productions, in association with Lambert House Enterprises, have chosen a confronting, contemporary cracker of a play with which to make an indelible, impressive mark on our city and the start of the 2026 theatrical calendar.
Hospitality and the local industry buzz throughout the opening night was of a high standard. The play plus performance and production standards we were privy to ensured communication of the confronting mesh of stories was incisive and inspired.
Above: Max Fernandez (Daniel) and Nathaniel Savvy (Peter) explore genuine contact. Photo: David Hooley.
Same-sex relationship attempts are boldly showcased by Les Solomon’s chiselled colloquial poetry and bristle with a now energy in the hands of the four actors here. This cast’s impeccably poignant chemistry shines. For an opening night, characterisation and character development in Ella Morris’ powerhouse direction have a clear energy and the flow of interactions and unravelling of limited attraction are thrilling.
This quartet of actors engage in a play and play around in that production’s backstage dramas associated with an intense showmance. Fraternal twins Peter (Nathanial Savvy) and Penny (Sophia Laurantus) land roles in a show alongside the larger than life, life-scarred, bisexual cowboy Daniel (Max Fernandez). The twins bring their innately joined enthusiam, self-defence and composite need for relationships to the production of this play’s internal play.
There are many layers of drama in the flashbacks the twins narrate however. They exude fresh innocence, energy, grace (especially beautiful in Nathaniel Savvy’s excellently paced Peter-realisation of Riley Harrington Hopkins’ choreography) on a collision course with bitter, damaged post-abuse survival profiles of their co-stars Daniel and the blatantly manipulative, lascivious Demetrious (played with chilling, well-paced emphasis and seething disregard for anyone’s feelings by Tate Wilkinson-Alexander).
This tale unfolds with slow-burn realisation that the twins have encountered some extremely horrific examples of hurt. The players in flashback narration or in the depth of confused, dangerous interaction are directed to make fine use of the space. Gay, lesbian, bisexual and predatory contact are the norm here, and alternate with a contemporary completeness that makes this theatre event relevant and build with constantly shifting revelation.
Above: Penny (Sophia Laurantus) endures a scene with co-star Demetrious (Tate Wilkinson-Alexander) in this play’s internal show. Photo: David Hooley.
Kyle Stephen’s less is very much more lighting design, with use of slow flashes, strip bulbs and a clever manipulation of colour trace the ups and downs and confused hopes of the showmance plus pressures. Set areas are well used to suggest the real world and backstage divisions and the volatile bed of Daniel, the god-fearing cowboy character’s real-life ego, the victim of his horrendous history, is strategically placed at the far reaches of this stage.
Max Fernandez’ portrayal of the darkness of Daniel is expert, layered and intricate. Glimmers of emotional freedoms and normalcy respond to the fine dialogue and affection supplied in Solomon’s text. The on-stage chemistry with Nathaniel Savvy in glimpses of recovery from the past is a highlight of the tale. Savvy’s delivery of Daniel’s relentless would-be boyfriend option is a gorgeous, ego-free trajectory with valuable self-defence to watch, regardless of the audience member’s age or sexuality.
Sophia Laurantus’ charisma and joint strength when vocalising and moving across the stage with all three men on the stage is a highpoint of the production’s momentum. Her synergy with Savvy as Peter is so effective it makes us all crave a gender-discordant ally to help us debrief and defend ourselves.
Above: An ensemble moment with Peter (Nathaniel Savvy), Penny (Sophia Laurantus) and Daniel (Max Fernandez).
This post-HIV generation of gay drama brings new issues than mere physical survival to the fore. Hidden motivations or personality imprinting are covered clearly and sensitively by this cast. Also, being alert to violence plus personal misuse and bold enough to open the floodgates of attraction sans fear of acceptance by society are refreshingly modern features of the emotional and identity landscape here.
This play’s season, which precedes the final glitter balls of Mardi Gras season 2026, is an event which in any year embraces a new strength and reality of queers gays, lesbians, bisexuals, twinks, joyous show queens and cruel, damaged studs. Its message and power as a new play, with a fine portrait of strength through a careful coming-of-age treatment of loneliness, will remain evergreen whenever presented as well as it is in Sydney now.
God’s Cowboy plays at the Flight Path Theatre until Feb 21. For bookings, go to www.godscowboy.com
You need to stop being so generous with these 5 star reviews. They mean nothing if everyone gets them, especially when you read other reviews of this play, see SMH for one.
Hi Nathan, Thank you for your comment.I appreciate what you are saying. Perhaps, on occasions we are a bit too generous however when it comes to the arts we are keen to look at the positives as artists, in whatever their field, put/give so much of their love, effort, time and talent in to their work. There is a famous quote that goes, ‘No-one ever made a statue of a critic, nor are they ever likely too. Artists are the creatives. Critics, reviewers, however we call ourselves, take our place in the audience like every patron, and we share our personal thoughts, in this case online. And, in the end, ultimately, like beauty, art is in the eyes of the beholder.