God’s Cowboy
Writer: Les Solomon
Director: Ella Morris
Flight Path Theatre, Marrickville
21 January – 21 February, 2026
Produced by Little Stormy Productions, in association with Lambert House Enterprises, God’s Cowboy with its gender-fluid themes, arrives just in time to usher in the 2026 Mardi Gras. Written by Sydney’s playwright Les Solomon, the play examines the emotional experiences traversed by young people on the brink of adulthood, and the multiplicity of decisions that beset them.
It is in effect a “play within a play”, stemming from the backstage behaviour of the cast who, given the intensity and proximity of their daily interactions, inevitably develop and explore the attraction between themselves. Peter (Nathaniel Savy) and Penny (Sophia Laurantus) are fraternal twins who appear new to the ambiguities of the theatrical world, and we sense a certain vulnerable innocence. Nevertheless, both are at that stage of young adulthood where sexual identity is not yet set in stone and both appear open to exploring same-sex opportunities.
The source of temptation is their fellow cast member, the “Cowboy” of the title, Daniel (Max Fernandez). He arrives in full cowboy regalia: dynamic, handsome, charismatic and bisexual. After making a play for Penny, who fobs him off, he concentrates on forming a liaison with Peter, who is not averse to his advances.
Les Solomon’s fine scripting makes their unfolding relationship both tense with anxiety, yet warm and hopeful as it progresses. However, it soon emerges that Daniel may not stay as he confesses to Peter the heavy burden of trauma he bears from past abuse. Fernandez’s handling of this difficult emotional transition is masterful, evoking deep sympathy in the audience.
Further gender conflicts arise as the play proceeds. Penny, having survived breaking up with her co-actor, the chillingly unemotional and controlling Demetrious (Tate Wilkinson-Alexander), sets about renewing her very warm friendship with her girlfriend, Meg, which turns out to be successful.
Director Ella Morris has succeeded in achieving a sense of warmth and hope, despite the dark and sometimes disconcerting themes of the play, and the four players have excellent chemistry as a cast. The dramatic tension is relaxed at several points by impromptu dance sequences, amongst them a lively bit of boot scootin’ which certainly raises a smile or two.
All in all, it is a brave, honest and challenging piece of drama which gives a voice to the problems facing many young people. Described by the playwright as “a powder keg of emotion”, it is well worth a viewing.
