Images: Images by Anderson
As part of Melt Festival, Trophy Boys is promoted as a ‘queer dark comedy about power, privilege… and debating.’ Emmanuelle Mattana’s play notes specify that the ‘characters are played by female, gender non-confirming and non-binary performers in drag’—which means that Anne Pensalfini, who is a talented Drag King, is the ideal choice to direct this thought-provoking PIP Theatre show. As Pensalfini observes, in the Director’s program note From the Principle, the close observation, exaggeration and tropes of ‘masculine drag makes what’s hidden visible’ in a show that ‘uses drag to take a comic, then searing look at how manhood is constructed.’
Emmanuelle Mattana’s Trophy Boys introduces PIP Theatre audiences to four boys from the elite St Imperium College. Locked in a classroom for their short preparation for the Grand Final of the Year 12 Interschool Debating Tournament—where they will be competing against their sister school—the all-male team members discover that their challenge is to argue for the motion ‘that feminism has failed women’. As Owen (Emily Liu), David (Gabby Carbon), Scott (Stella Peterson) and Jared (Tayla Rankine) work through their one-hour preparation time, Trophy Boys exposes the true horror of their ego, entitlement, and ‘education’—where each boy reveals stories about ways in which they behave with and toward women, in a show that encourages audiences to question the building blocks that sustain toxic masculinity, misogyny and homophobia.
As Year 12 students, some of the Trophy Boys can spout political and philosophical theories, and they are all well-versed in how to win debating competitions. They are exuberant, confident, and excited about being in the debating final—cleverly conveyed through the beautifully lip-synced, choreographed and lit ‘just a boy’ mini rave (Neridah Waters, Choreographer, and Noah Milne, Lighting Designer). But such moments of over-confidence and joy soon deteriorate into accusation and distress. When they learn that one of the members of their team has been accused of sexual assault, their self-assured exuberance quickly spirals into fear, confession, and argument.
Images: Images by Anderson
‘Trophy wife’ and ‘Trophy Boy’ are often derogatory terms for the status symbol ‘eye candy’ younger wife/partner of an older and wealthier spouse. Mattana’s Trophy Boys gives us a different spin on the term, constantly reinforced by Daniel Gough’s excellent set and costume designs. The four immature young men are working in a classroom, wearing their elite school uniforms and continuing to speak about career aspirations that include business and political success. But these uniforms appear to be hiding some very dark secrets, and their focus on winning the trophy at all costs leads us to question whether they will ever truly learn about consent and how to behave as future community and business leaders.
Pensalfini has selected a strong cast for this show. I particularly liked Peterson’s portrayal of the dim-witted Scott, and was disappointed that the audience reaction to the ‘blow’ scene was one of laughter. For me, the revelation was well-acted, and a real ‘pin drop’ moment. But I guess that’s the joy of live theatre where members of audiences don’t always react in the same way.
In the interest of not providing any further spoilers, I won’t detail why the final scene of the production is so powerful. Perhaps a slower build-up and less use of the spotlight would have helped build the tension to the final scene. But you really just need to go and see how the ‘just a game’ is played. I hope that this production might tour schools as I can see that it would provoke some excellent post-show discussions in the classrooms of many state and elite high schools. Buy a ticket if you can, as Pensalfini’s PIP production of Trophy Boys is an excellent piece of through-provoking drama. I am guessing it will be a much talked-about highlight of Melt 2026.
Trophy Boys plays 21-31 October at PIP Theatre, Milton as part of the 2026 MELT Festival. The reviewer attended the 22 October 2026, 7:30pm opening night performance. This review was original published on Creative Futures.
