Three ‘cowpokes’ herd us into the theatre space, where we become the cows in this story. It’s our bedtime. They are trying to lull us to sleep. So begins a unique theatrical experience – hold on to your hats, this is definitely Brighton Fringe.
What’s immediately incredible about this production is how instantly we are in the American West, in the cowboy era. It happens in the blink of an eye, less transported, more – we are just there. The cowpokes of the title are so authentic, this is truly magnificent acting: they have become these men, we don’t see young women any more, we see the men. Their movements, from angry young virile man, to older man with sciatica, to young naive adolescent male: they become them so completely with their movements and through truly inhabiting the characters. It’s some of the most complete transformation of physical acting you are likely to see, and it’s done to perfection.
This unique and quirky poignant comedy made its first outing last year, and talking to the brilliantly inspiring creatives: Faith McNeill and Saskia Monteiro, they worked hard on refining it since. The writing and production are so very clever, it has profound layers upon layers of things to say and the way they say it makes it accessible to everyone in the audience.
You can of course simply take it as a laugh out loud guffaw funny show, which it is. But it also has so much to say about familial and group dynamics, the vying for power and control through two opposite characters: Buck and Judd, who actually have more in common than they realise when you scratch the surface; and the way the younger Kit is their metaphorical and literal punchbag. How do we behave when we’re bored? How do we pass the time when we think nobody is looking? And how irritated we get in a confined space when we are forced to spend time with others: all the little annoyances are acutely observed and held up for us to recognise and laugh at.
Amelia Leigh, known for serious glamorous roles, is unrecognisable as Buck. Oozing male power and a seriously complicated past, with expert comedy timing. The knife work is exquisite, and her facial expressions are a treat. Lily McCaffrey as the young naive Kit has some of the best one liners in any comedy and delivers them to perfection. Her singing voice is also a joy to hear, as she(he) sings the cows to sleep with the only song he knows which he has no idea is hilarious. Tia Chipperfield has the swagger of an older man as Judd, the rule follower, the one inspiring fear of The Big Man for whom they all work. It’s a fascinating examination of coercive control when you never actually see who they’re talking about: the dynamics between them are so acutely observed it’s a joy to watch.
This is a production where everything works to the highest standard. The acting, the staging, the tech, and the writing. The story within the story, told by each of them from their own point of view, shows so much about their characters: rule following, rule breaking, and optimistic and hopeful. Seeing them transform into the characters in the story and the combined stunning movement work is nothing short of a masterclass in acting. It’s gorgeously directed, so clever, and roaringly funny, as well as poignant and multi-layered. Quite simply a five star worthy show. Don’t miss it. Moo.
The Rossi Bar, 20 May 2026
Cowpokes in a Bunkhouse runs until 27 May 2026 and tour: link here
Photos credit: Imogen Jacques
