Boy Overboard, more than anything, is a play about persistence and hope in the face of adversity and uncertainty. These attributes have never felt more necessary than in the last two years and the fact that Boy Overboard stands before you in its current form is a testament to the persistence and hope of its cast, who have soldiered on through multiple lockdowns. 

I never like writing director’s notes – I firmly believe the play should speak for itself. And this play speaks quite clearly. Whilst we were in rehearsals, renewed horrors beset the people of Afghanistan and the enduring repugnance of Australia’s foreign detention policy was pulled into the spotlight once again, with little change. I had several conversations with the cast at various points about these things. The play necessitated some hard conversations – about gender inequality in some parts of the world, about religion, and about the truly lamentable plights of some of our fellow humans. I was consistently surprised and impressed by the cast’s willingness to engage in topics that are normally sequestered firmly to the ‘adult’ table. They have done a mighty job in embracing the play – both in terms of a difficult rehearsal period and difficult subject matter. Though the full play they have worked to build cannot be realised, its heart and the cast’s dedication are captured here tonight.