Content warning: discussion of sexual assault
Champions follows the journey of four talented artists vying for a prestigious $50,000 art prize, each hoping to become ‘somebody’ in the competitive art world. Throughout the play, sensitive issues are admirably addressed by the cast and playwright, Isabella McDermott.
With six months to create their artistic masterpieces, the plot chronicles the characters’ personal struggles with mental health, and complex issues of sexual assault. Although much of the character development is underwhelming and the humour often falls flat, Champions remains a worthwhile watch: it showcases how competition can stifle creativity and foster conflict, while reminding audiences that “a rising tide lifts all boats.”
The characters are seemingly divided into two distinct groups: the polite, shy characters, and the exuberant, confident ones. This dichotomy felt cliched at times, but was nevertheless engaging.
Howie (Lincoln Vickery) leans into the ‘nice guy’ and hopeless romantic tropes. His skilful photography captures his infatuation with Claudia (Cat Domiguez), a reserved and anxious artist hoping to find her confidence through her practice. While Howie only has eyes for Claudia, Claudia (secretly) only has eyes for Emmy (Talitha Parker).
Claudia’s foil, Emmy, is free-spirited and bold, with a penchant for lewd humour and a knack for artistic brilliance. However, after enduring a woman’s worst nightmare, her essence is stripped away, leaving her to haunt the narrative in a limbo between living and deteriorating. Parker delivers an incredible portrayal of such a difficult issue, remaining on stage during the other characters’ monologues, receding smaller and smaller in a darkened corner. Watching the other characters pursue their goals, oblivious to her condition, was almost frustrating; a striking contrast that lingered with me throughout the play.
Moreover, the other confident personality, Frasier (Bayley Prendergast), is a wealthy young man who never quite meets the domineering expectations of his golden father. For him, art is not a source of solace or passion, but a means to dominate his peers. Aggressive and ambitious, he embodies the classic archetype of the rich boy with daddy issues. Unfortunately, his character feels too cliched to be fully convincing and could benefit from deeper development.
The play is structured around monologues delivered by the four actors, enhanced by impressive changes in lighting and carefully curated music. Staging is employed creatively: one character steps into the spotlight to share updates on their journey, while the others linger in darkness or leave the stage. While interesting insights are shared, the format can feel bland at times, as most interactions are directed at the audience rather than among the characters, which could have led to more dynamic exchanges and greater dramatic tension.
Although the characters could have been developed differently, Champions had a captivating premise, while the cast and production team handled complex issues tactfully.
