Brisbane review - Trophy Boys: an absolute triumph for PIP Theatre
6 hours ago
4 min read
By David Wilson
Playwright: Emmanuelle Mattana
Director: Anne Pensalfini
Presented by: PIP Theatre as part of MELT Festival
Venue: PIP Theatre, Level 2 Main Theatre, 20 Park Road, Milton
Season: 21–31 October 2026
Duration: 70 minutes, no interval
Creative Team: Anne Pensalfini (Director), Kat Dekker (Dramaturg and Directorial Consultant), Daniel Gough (Set and Costume Designer), Noah Milne (Lighting and Sound Designer), Neridah (Choreographer), Jo Loth (Voice Coach), N-J (Fight and Intimacy Director), Libby Harrison (Stage and Production Manager)
Producers: Deidre Grace and Amelia Slatter
Tickets: Adults $50, Concession $40, Under 30 $35, plus $3.30 booking fee
Every so often a theatrical production comes along that seems to capture the mood of the moment so perfectly that it is difficult to imagine a more appropriate time for its staging. PIP Theatre's outstanding production of Trophy Boys is one such occasion. Brilliantly written, directed and performed, this provocative and frequently hilarious work is theatre at its most compelling.
Written by Emmanuelle Mattana, Trophy Boys takes us into the privileged world of St Imperium College, an elite boys' school whose debating team is preparing for the grand final of the Year 12 Interschool Debating Tournament. The four students have been given the unenviable task of arguing the affirmative position on the proposition that feminism has failed women.
Confined to a classroom with limited time to prepare their case, the boys set about constructing their arguments with a combination of arrogance, bravado, questionable logic and an extraordinary sense of entitlement. What follows is initially a riotously funny examination of adolescent masculinity, privilege and the attitudes fostered within institutions accustomed to producing society's future leaders.
However, beneath the seemingly outrageous comedy lies something considerably more disturbing. As the preparation unfolds, the humour gradually gives way to an increasingly confronting exploration of power, misogyny, complicity and the consequences of a culture in which privilege so often comes without accountability.
One of the great strengths of Mattana's writing is the remarkable balance between these contrasting elements. The dialogue is wonderfully sharp, the humour frequently side-splitting, yet the underlying subject matter is undeniably dark, troubling and real. The transition between laughter and discomfort is handled with extraordinary skill, ensuring that the audience is thoroughly entertained while being challenged to consider some profoundly important questions.
Under the assured direction of Anne Pensalfini, this production is nothing short of brilliant. Pensalfini demonstrates an exceptional understanding of the work's rhythms, allowing the comedy to flourish without diminishing the seriousness of its message. The pacing is impeccable, the character interactions beautifully observed, and the growing tension expertly managed.
Particularly effective is the decision to have the four male students portrayed through drag performance. Far from being simply a theatrical novelty, this approach adds another fascinating dimension to the exploration of masculinity, revealing how much of what we accept as masculine behaviour is shaped by expectation, performance and social conditioning. The exaggerated swagger and posturing of the characters become both a source of considerable humour and a revealing commentary on the attitudes they represent.
The four performers are, quite simply, extraordinary.
Emily Liu as Owen, Gabby Carbon as David, Stella Peterson as Scott and Tayla Rankine as Jared each deliver wonderfully accomplished performances. Every character is clearly defined, with distinctive mannerisms, personalities and attitudes, yet the ensemble works with an impressive cohesion that makes their relationships entirely believable.
Their physical characterisations are particularly impressive, capturing the swagger, insecurity, competitiveness and awkwardness of adolescent boys with remarkable precision. The comic timing throughout is exceptional, but equally impressive is the ability of each performer to negotiate the increasingly serious emotional demands of the work.
It would be difficult, and perhaps unfair, to single out any one performance. All four are outstanding, and collectively they create an ensemble of rare quality.
The production also seems almost tailor-made for PIP Theatre's excellent performance space. The intimacy of the venue draws the audience directly into the classroom, making us feel uncomfortably close to the unfolding events. Daniel Gough's set and costume design provides an effective setting for the action, while Noah Milne's lighting and sound design contributes to the production's changing atmosphere. Every element works together to support the storytelling without unnecessary distraction.
There is something particularly satisfying about seeing a theatre company consistently embrace works that are not merely entertaining but genuinely meaningful. PIP Theatre continues to make an invaluable contribution to Brisbane's theatrical landscape through its willingness to present challenging, contemporary productions that encourage conversation well beyond the final curtain.
Trophy Boys is a perfect example of why this commitment matters.
At a time when questions surrounding gender, privilege, power and accountability remain so prominent in public discourse, this play feels extraordinarily relevant. It is bold, intelligent, confronting and frequently very funny, but above all it is a production that has something important to say.
This is theatre of the highest calibre, with exceptional performances, inspired direction and a script that delivers both enormous entertainment and considerable food for thought.
Brilliant in every respect, Trophy Boys is an absolute triumph for PIP Theatre and a production I cannot recommend highly enough.
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