The space is very tight and the show begins with a relay in which the cast of seven run back and forth until some of them drop out, exhausted. They all wear school uniforms and play out various scenarios in which the politics of a few teenage sexual relationships is glimpsed. They are lit (Zach Howells) in a way that makes them macabre when striking various poses that appear to parody pornography and the art of the ‘selfie’. The use of a microphone that drops from the ceiling amplifies breath and opinion pieces throughout the performance.

During an exchange between ‘slutty’ Sam (Bianca Paine) and ‘bad boy’ Ben (Reuben Bowen) the writer, Nathan Joe, has the actors exchange their lines as the conversation turns into an argument. The male and female heterosexual perspectives are briefly reversed. Throughout the show other cast members interject, add voice-overs and/or appear as a tableau of judgement, fear, oppression or simply observation.

Although there are a few static moments and easily corrected mistakes (such calling a fellow cast member by the wrong name), it doesn’t detract from how vibrant, funny and awkward the relationships are.

Bowen’s smirking young player has a touch of ‘David Brent’ (The Office) about him as he vacillates between boredom and desperation.

Although Natalie (Amber Liberte) is conventionally beautiful she is given the role of one who is usually over-looked. The only way this is believable is due to her awkwardness in communicating with the object of her desire – whereas the role of Mandy the mean girl is played with sociopathic levels of confidence by Valeria Mendoza-Davis. It’s as if Davis is channelling every rich, entitled, calculating bitch you’ve ever known. She has no depth – it just doesn’t serve her. One wonders how such a character might be more sympathetic, but it’s good to be reminded that those who lack empathy certainly do exist.

James (Zak Enayat) is sweet, calculating and sexually inept. During his seduction of innocent Natalie, the moment comes in which we ask ourselves ‘was she raped?’ I imagine this scene would be perfect for opening up some honest dialogue around consent – wouldn’t it be great to have this show on the school curriculum? 

Natalie’s friendship with Lisa (Bronwyn Ensor) has many layers to it and they light up the stage with warmth and delightful chemistry. Gary (Will Moffatt) is adorable as the ‘geek’ and gets some of the loudest laughs with well-timed delivery of excellent dialogue.

There is so much going on in this play – even commentary on the length of a school skirt and how it shouldn’t be ‘distracting’ to male teachers gets some attention when Sam (Paine) delivers a speech about it. One of my favourite scenes addresses the school skirt debacle in a simple and very funny way. Paine carries this off beautifully.

Beautifully choreographed movements, dramatic lighting and dance represent the emotional state and physical act of sex. Director Chye-Ling Huang (mentored by Nisha Madhan) has worked magic in an incredibly tight, square space. Everyone knows their place – and it’s just as well because there is no room to get some of these very bold movements wrong.

Exposed Theatre succeeds in supporting recent graduates from local acting schools by using this production as a vehicle. The performances have me craning forward to make sure I don’t miss a thing – you can’t look away even for a moment. You have to be present – just Like Sex.

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