The Boys

‘The Boys’ was written by Perth playwright, Gordon Graham, at the age of 42. Whilst mainly autobiographical, it incorporates scenarios from the Anita Cobby case (24 years ago this week), which is still considered Australia’s most heinous crime in recent history. The play won an Australian Writers' Guild award in 1992. It is presented by the Old Mill Theatre, Mends Street, South Perth playing nightly at 8pm, until 20^th February, with a 2.00 pm matinee on 7^th February.

The play has several flashbacks and flash-forwards, with the time frame being a little confusing, but overall, this helps to strengthen the tension and give more depth to the story. This review gives part of the story in continuous time.

         On his release from jail, after having spent a lonely year practically without a single visitor, brother Glenn (David Gregory) picks up cold psychopath Brett Sprague (Murray Jackson). Brett discovers that things at home are not as they used to be. We watch as, over the following twenty-four hours, he regains his influence on his younger brothers.
Brett attempts to resume the position of the dominant male in the household. His girlfriend, strong streetwise, Michelle (Julia Hern), assumes that he will be desperate for sex, but he accuses her of cheating on him, hiding his inability to perform. Brett is left with a need to prove himself as a man.
         The arguments start and long-suffering mother, Sandra (Val Riches), tries to keep the peace. She still continues to think that the sun shines from the boys’ backsides. All of the women struggle to make things work as a family, but when the boys are together their efforts are futile.
          After hours of drinking and arguing, the boys set off for more grog and wander the streets.
        Later we learn that a girl at a bus stop has been brutally raped and murdered. 
        Brett is very jealous of his middle brother Glenn, who has bettered himself by getting a job and is very happy with his powerful, organised and respectable fiancée, Jackie (Leah Maher) who is trying to get Glenn away from the bad influence of his home. Brett takes objection to her attitude, after all blood is thicker than water.
         Younger brother, gullible Stevie (David Bruce) and his pregnant girlfriend, Nola (Krysia Wiechecki) have been sleeping in Brett’s room. The slightly simple and withdrawn Nola is petrified of Brett, who constantly terrorises her. When she tells Stevie that she is afraid, he says good riddance and tries to kick her out.
         The mother and girlfriends feel vulnerable. Then the police arrive to arrest the ‘usual suspects’. Some of the women are shattered and, through misguided loyalty, compromise their lives for the boys. The other women are relieved they have gone.
         Did the boys really carry out the murder? Will Nola’s baby be born? What will be the result of the boys’ trial?

This play is a character study and tense psychological drama, about the lead up to violence and the meaningless behaviour of the gang mentality. As a result of a violent act, who are the real victims? The murdered, the perpetrators, or the loved ones left behind?

Whilst being a good solid story, there are numerous themes and storylines missing from the original book. Topics which helped explain the moods and attitudes of the boys. Gone are two central characters, George, Sandra’s Aboriginal boyfriend, and the bottle shop owner. What happened to Brett’s stash, his coffee table, and the Michelle’s suspected reason for Brett’s impotence? A pity the play was thinned out.

The demands on the cast were huge, but they were all magnificent, with Krysia and Leah being exceptional. Through superb direction (Dannielle Ashton, aided by Molly Sheehan), every cast member saw the requirements of their very different characters, and then conquered them body and soul.

Rarely do I list stage crew, but Joy Harvey, Katie MacCuish, Shelley Ormerod, Ryan Kristensen, David Wallace and Hayley Lauterbach under the supervision of Rowan Mitchell worked their guts out. The set went through several major changes, involving heavy flats and props (Angela Sullen). The team moved in and within seconds the cleverly designed set (Hywel Williams and Phil Barnett) was converted.

There is a warning that the play is confronting, however it is not brutal - there is no violence seen, but plenty inferred. Because of the superb acting you will squirm, and really feel for the women.
I kept thinking of the old expression, ‘There is a special place in heaven for a mother of three sons.’

Yes it is psychologically gruelling, but it is still most definitely worth going to experience the life of this family. Real quality.

I think Gordon's got it a bit wrong. He says: "There are numerous themes and storylines missing from the original book". There's no book, it was always a play. He might be referring to the 1998 film, inferring some bits might have been deleted, for the play. But as he mentions in his intro, the play was written in 1992 and the film was embellished later. To see say anything has been deleted from the stage version is incorrect.

I have been wanting to see this production ever since I first read the synopsis. You can't beat an intense play that requires real hard-hitting emotions, and demands from the actors involved. I found myself watching this play in a completely different light to a regular audience member, therefore my review may be somewhat different. It is both a blessing and a curse as a trained actor to watch other productions at times grrrr! And just to clear the air now, any negative comments that I make are purely related to the performance on the night from the actor's perspective which I hope does not offend anyone. :( Cutting straight to the point, whilst being brutally honest...I think the girls completely stole the limelight, and made the boys performances less convincing. The only scene where I saw some really good work, was their final scene together in the build up to the big incident, but felt that more could have still been put into it. The Boys :- Murray Jackson My feelings for this guy remains the same as when I saw him in Trainspotting. There is great potential there, but I still find him to be too choreographed. It is clear that these 'bad guy' roles are well suited for Murray. Trouble is, as an actor viewing another actor, it appears as if he holds back too much, and tends to focus more on what his face is doing, leaving his body movement well behind. There are very distinctive flaws that could so easily be corrected during his performance. If you are to play a bad guy with a real mean streak, it requires more than the head being raised so the chin is more exposed, whilst tilting the head slighty to the side, and making your eyes appear to be popping out. All I could picture was Christopher Lloyd in 'Who Framed Roger Rabbit' at the end of the movie where his eyes lietarally pop out whilst saying to myself "What the f##k is this guy doing!?!?!?" Murray actually delivers his lines pretty well, but could even turn them up a notch. It is just his physical acting that lets him down in my opinion. Murray had a tendancy when looking out to the audience to move his head from left to right, left to right, to the point that is looked unnatural. And his knuckles, no matter what scene it was, or what emotion was required, would often remain by his side facing up, which again as an actor, can really drive you nuts. I wanted to see him let loose. Really go to town. If his character is pi##ed off with another character, then show it! Power across the stage. Don't prance. I know you're wearing thongs, but Jesus wept!! Tense the odd muscle. Move the arms more. Anything. Just don't let it all be in the face, especially the eyes. Having ripped into Murray for his acting ability on the night, I still believe, as I did after watching him in Trainspotting, that he has the tools to do a lot better. He just needs to break his characters down more when becomming them. Maybe start from the feet and work up when taking on the physical side of things? David Gregory David did pretty well for the more sympathetic brother. He looked the part, took in well what was happening around him, and was constantly on the ball. I think that he could have opened his mouth a little wider when delivering his lines as I couldn't always hear what he was saying, and like Murray, use his body a little more. David Bruce David was the strongest of the 3 guys for me. He played off of Krysia very well, and his final scene was his best scene. Every part of him in that scene was convincing. Maybe tone down the heavy breathing a little in that scene when it gets really heated as it looked as if he was going to pass out at one point, but generally the guy to watch. I found myself wanting to knock his head off when he was tearing shreads out of Krysia's role so he won my vote! ;) The Girls Val Richards This is the first time I have seen Val onstage when opposed to backstage so was quite keen to see what she would bring to the table. Her character was easy to warmth to, and she took on the role well. There was a couple of missed opportunity's where she could have played with the silence between lines, but overall nicely done! Julia Hern Julia has come far with this production, and it has allowed her to grow more as an actress. Working with Director Danni and fellow actress Krysia, she has furthered her key strengths as a performer, and really started using them to her advantage. Her final scene with Leah was her moment to shine, and she did just that. She allowed herself to dig deep, and kept her face on show throughout the whole scene, letting the audience see the pain that her character was feeling rather than hide it. Not an easy scene to play at all. Leah Maher I have to admit, it took me a while to shake off the 'Nurse from Romeo & Juliet' whom she played previously and take in the role of Jackie purely because she just did that role so bloody well!! There were some nice layers her character, and she kept you in suspense until her most demanding scene at the end. Krysia Wiechecki Krysia, Krysia, Krysia. There are very few people in this industry with that real 'raw' talent. If Sean Penn was a Perth based female, he would live in the body of Krysia Wiechecki. I keep saying to Krysia "Why can't you do something a little easier for a change? Maybe a lighthearted romantic comedy?" This girl, take on the biggest, hardest, most difficult roles, completely loses herself within that role, and blows you away when she performs. The demande for the roles that she takes on, words cannot describe. When she isn't popping out babies onstage, she's having a nervous breakdown, or tearing herself to pieces. She is totally electrifying. What I really respect and ove about this particular actress, is that she is completely listening to her surroundings. Many actors fail to do it, abut Krysia never fails. I always say, as a performer, if you really pay attention, you will see hundreds of invisible strings above each audience member. If you pull on them, you can literally control them, and make them react in any way that you choose. Krysia hits every string, and owns you from the moment she steps on stage, until the moment she exits, and leaves you speechless. even when she has no lines, she is totally within her character, scratching the wall, or playing with her pink ribbon on her nightie. Unreal! Krysia really understands the power of silence, and pauses within acting. She uses them to her advantage, and reminds you that an actor is far more powerful when standing there in silence, than when they are standing there screaming or cursing. Totally spine-tingling! Great respect!!! The girls really paid attention to one another, and fuelled eachother perfectly to build the right feel for their scenes. Unfortunately, there was a couple of great build-ups from the girls that were deflated by the guys when they reappeared onstage. The highlight for me was the girls reaction's in the final scene when Sandra said to the newborn "You look just like your father!" Absolutely priceless!! :) Overall, I would be rather sick if I said "Yes you must go and see this play!" due to it's content. But, if you want to be moved by a performance, then get down there and watch. Danni still remains to be the best to stage the 'real' plays! This play is about how a group of men destroyed a group of women's lives in some way or another. As far as this production goes as performers, Julia, Krysia, Leah and Val won one back for the women! :) Christian Dalton "A true actor is more himself, when he is not himself, and lost in a character."

I think you mean Val Riches, not Richards.

Ooh yes, my apologies there!! Val's not going to like me now! ;) Christian Dalton "A true actor is more himself, when he is not himself, and lost in a character."

Thank you for your review. It is true, those flats were heavy. We are glad you liked the show. Christian, I'm pretty sure Murray's "head being raised so the chin is more exposed, whilst tilting the head slighty to the side, and making your eyes appear to be popping out" is better than anything you could have come up with.

I agree wholeheartedly with Walter above. Having seen you tread the boards on a number of occasions Christian, you certainly could learn a thing or two from Murray on the acting front. Well done to The Boys cast and crew.

If Christian can't even get the basics right, such as the names of actors, how can we even start to believe he has a credible opinion? If he gets his facts wrongs, then surely his opinions are therefore flawed as well?

Ahh, isn't it wonderful when someone actually dares to critique a show... *facepalm* I say well done Christian for at least having the guts to come out and say what you really think. Though, I think perhaps some of your critique reads more like director's notes than it does review and I also think rather than laying the blame on the actors for 'not using their tools' you should be more questioning of the director, part of the director's job is to make actors use all the tools availiable to them and to not allow actors to fall into bad habits or stale characterisation.

Someone gives a less than glowing review, and suddenly the knives are out. Chris is entitled to his opinion, and that's what it is people, an opinion. His opinion. If you don't agree with him, write your own review. No point attacking the reviewer. I saw the show on Saturday, the same night as Christian. I went in with high expectations, having been most impressed by Dannielle's previous shows, but came away somewhat nonplussed. The show just didn't engage me. I didn't care about the characters. I count some of the cast members amongst my friends and acquaintances, and had trouble dissociating the person from the character they were portraying. Having said that, there were some performances that I enjoyed very much, particularly Krysia and Leah. The production itself was very well put together - congrats to Danni, Molly, and the countless others that go into such an endeavor. I thought the scene changes to be slick, and the set well thought out. Chatting in the bar afterwards, and taking a quick straw poll, I found others, on the whole, were totally engaged by the production. Brought them to tears in some cases. Angry at the out-of-place laughter from some of the audience. The Boys still has two weeks to run. Go see it. It's not a play to be enjoyed, so much as endured. Entertainment needn't leave you with a warm glow. Sometimes it should leave you with a knot in your stomach. www.meltheco.org.au

I agree wholeheartedly with your post. It's nice to see someone have the nerve to post something other than a fawning obsequious pat on the back. As for the veracity of Christian's comments, I shall be making my own judgements this Friday night when I see the show. I would suggest everyone else do likewise before jumping down a critic's throat. Eliot.

I would also like to add that to all the actors that complain that there are no meaty dramas presented in Community Theatre, to put their money where their mouth is, extract the digit and (hopefully after washing it)use it to call and book on 9367 8719. Remaining performances at the Old Mill Theatre, Mends Street, South Perth, opposite the Windsor Hotel at 8pm, February 11, 12, 13, 17, 18, 19 and 20, Don't miss this one, otherwise you'll be missing a top dramatic effort. Cheers All Robert.

...but I also must defend Christian's right to an opinion and I can assure all and sundry I had nothing to do with the anonymous posts above. I don't actually disagree with much of what Christian has said and am certainly not phased by it so those who felt it necessary to come to my defence - just leave it please, I've got thicker skin than that and I am a far harsher judge of my own performance than Christian will ever be. Guys, it's never great to have criticism levelled at your performance but if you absorb some of it, perhaps you'll come away better at what you do. Isn't that the goal - to be better each time? Christian, I'm sorry you've taken brickbats for your review - I trust it won't put you off reviewing in future. If I disagree vehemently with anything you say (and I do disagree with some things you've said but then I have the advantage of having lived the production last couple of months so I have insights on certain choices made that you aren't privy to) please be assured you I'd send you a private message and discuss. The fact that I haven't means I didn't disagree strongly enough with you to do so. Now, can we all calm down a little and for God's sake, unless they're actually abusive, leave the reviewers alone!