Set in 1994, The Cape is an exploration of archetypal human nature, presented through four friends on a quintessentially New Zealand road trip to a nostalgic childhood holiday spot: The Trouble Maker, Eb (Ben McCarthy); Arthur, the Wise Man (Will McGrath); Mo, the Hero (Nick Tipa); and the Outsider, Jordan (David Stock).

Directed by Bronwyn Wallace, these four young men embody these archetypes within a modern context without letting themselves become stereotypes.  Their friendships (both old and new) are portrayed realistically, which can be a hard dynamic to pull off onstage. The rehashing of past events, and the development of new bonds between the characters allows for the audience to get a good sense of their history while also being able to see how they’re growing and changing together on this trip.   

The set (George Wallace) and lighting (Audrey Morgan) design are both very on point. The set, allows for the action to move freely throughout the performance while also providing some great nods to classic New Zealand. The actors also make great use of the design’s multifunctional elements, and there is also a spectacularly well executed sunrise scene that is lit to perfection.

Each character has had life deal them some rough cards. Eb’s parents have recently divorced and the older brother he idealises has moved overseas, leaving him little support or direction in his life. McCarthy is perfectly cast in this role, able to maintain a high level of energy, while also deftly handling the more articulate and emotionally downbeat scenes with sincerity. It could be easy to dislike Eb, but McCarthy’s portrayal of him as a wounded puppy rather than an unremitting jerk makes him rather endearing.

Arthur is the spiritual one of the group; he identifies with Maori culture and spiritualism, and imparts some of his knowledge to his friends. McGrath’s portrayal is compelling, he is often a silent presence on stage, quietly rolling joints while observing his friends’ more volatile behaviours; remaining active and of interest to the audience in the background while never once drawing attention away for the other action on stage. Arthur’s parents have also divorced and it’s his examination of the concept of the ever expanding family that leads to one of the best lines of the play: “Who wants to have kids while their mum’s still having them?” 

The new addition to the group of friends for the trip is Jordyn, a friend of Mo’s. Stock’s portrayal of the character is a strong one. Jordyn could be an easy character to over-do. A recently out gay man who shows intense tendencies towards cleanliness, he could be jacked up into an offensive stereotype. But Stock approaches the character’s sexuality in an earnest manner, not camping it up for laughs.

And finally there’s Mo, who is keeping a secret from his friends that will change the course of his life. Tipa handles this character quite impressively, while at times the emotion can seem marginally overwrought, and his tendencies toward poetry are somewhat maudlin, these are flaws rooted in the script. He is the voice of reason most of the time among the group, quelling conflicts and pushing his friends to accept the flaws and differences in each other, all the while battling with his own issues.

This is a story that tackles some weighty issues – sexuality, drug use, broken families, death and violence – but it’s also very sweet and heart-warming. At times the dynamic on stage is a little strained, but for the most part it is very realistic and compelling.

You know these boys: maybe you went to school with them, maybe one of them is your bother or cousin or next door neighbour. But you definitely know them, and you’ll think about them long after the play is over.

The Cape is an engaging and charming coming-of-age story, not to be missed.

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