‘They’re being taught to argue themselves out of anything’: Trophy Boys isn’t afraid of debate
Trophy Boys star Kidaan Zelleke explains how playwright Emmanuelle Mattan’s gender-flipped comedy skewers the red flags and complex culture of private school debating.
On the eve of State Theatre Company South Australia’s production of Trophy Boys, Adelaide actor Kidaan Zelleke chats to InReview about the satirical comedy – and the opening salvo of artistic director Petra Kalive’s first season leading the company.
The work has already toured nationally and played to sold out houses in New York, winning best new work (Sydney Theatre Awards 2024) and multiple Greenroom Awards nominations including best production, best new writing (Emmanuelle Mattan) and best director (Marni Mount).
Set during a Year 12 high school debating grand final, the play pits an all-boys team against its sister school. The twist? The boys are played by a female and non-binary cast as they argue the thorny topic, “feminism has failed women”.
Can you unpack the premise of Trophy Boys?
I think Trophy Boys is the intersection of a lot of very pressing topics; the competitive culture of high school debating for one. You’ll be surprised who you know who has links to it and/or stories about it, and let me tell you the stories they tell you are not for the faint of heart. Our director Marni [Mount] and playwright Emmanuelle [Mattana] met in that very context and from there created the world of Trophy Boys. And what better way to enhance this high drama than by making it drag with a cast of female and non-binary performers? And that’s just what you get in the first five minutes.
What can you tell us about the cast, and your character?
I have the absolute pleasure and privilege of working with Fran Sweeney-Nash, Myfanwy Hocking and Tahlia Jameson. Fran and Myf have been such a support for Tahlia and I as the new cast members – actually the whole room has – Marni obviously and our ever-resourceful stage manager Genevieve Davidson. I think the nature of this show means the rehearsing of it can go from hysterical laughter to very intense work, and that requires a particular kind of sensitivity to traverse, which Marni leads beautifully and the cast models. That being said, they’re all menaces. They are hilarious and though I’m yet to corpse on stage in my career – this may be the end of the line for me.
I play David, I think the party line is that he’s quiet and a thinker – a description which every one of my friends have scoffed at. The idea of me playing such a character that is “quiet” is apparently where my acting abilities end for them, so stay tuned as to whether I beat the rumours. If I were to describe David, I would say that he’s deliberate and if I met him, I’d say he’s a red flag, the type of red flag that you’re like I don’t quite know how but I know.
How might audiences respond to the production?
This is the kind of show where audiences will definitely start off having a lot fun and though that will continue, it definitely takes a turn. I think something that has stuck with me working on this show is something that Marni said in rehearsals in reference to the boys, but also debating culture and subsequently private schools, “they’re being taught to argue themselves out of anything”. It starts there.
What have you loved most about being involved in this production?
The whole team have honestly been the best part of this production. Emmanuelle’s writing is a joy to work on, but working in the room with all the creatives attached to this show has been an immense privilege.
Subscribe for updates
What have you found most challenging?
Comparatively, the most challenging element is the content. It is one thing to read this play but another entirely to bring it to life. It evokes things in you that are hard to anticipate and managing that has been challenging but something we’re able to traverse together.
Why are stories like this so important?
I come from the ethos that storytelling is one of the most effective ways to teach anything, whether that be the intention of the creators or otherwise. I think we learn the most when we are affected, emotionally, logically, rationally. I think this show has the potential to do all three. I think it’s important because it gives us the opportunity to change.
Trophy Boys plays the Space Theatre from March 17 – April 2.
Want to see more stories from InDaily SA in your Google search results?
- Click here to set InDaily SA as a preferred source.
- Tick the box next to "InDaily SA". That's it.
Free to share
This article may be shared online or in print under a Creative Commons licence