The Australian premiere of dark comedy POSH delivers a powerhouse of rich entitled boys, bad behaviour, and brilliant performances.

Written by English playwright Laura Wade, POSH centers around a dinner party thrown by a secret society of Oxford University schoolboys known as the Riot Club.

Wade’s Riot Club is loosely inspired by the infamous Bullingdon Club — an exclusive, all-male society rooted in extreme privilege, notorious for its extravagant dinners and scandalous behaviour. Among its former members are British prime ministers David Cameron and Boris Johnson, as well as two monarchs: Edward VII and Edward VIII.

Upon entering the theatre, the audience is immediately immersed in an opulent scene. A grand chandelier hangs above a long oak dining table, meticulously set with crystal glassware, tall candles, and adorned with a regal portrait of the Queen. The space oozes privilege. A man (Charles Mayer)  in a navy pinstripe suit is already seated at the table as guests take their places, setting the tone for what’s to come.

POSH is a production that allows each actor their moment to shine, or, as Wade’s script demands, their chance to revel in disgrace, through characters that are unapologetically offensive. These are men with destructive attitudes who think the sign of a good night is leaving a sign of glorious destruction in their wake. While there are hints of humanity (Ryan Hodson, as Club President James, offers glimmers of decency), together they cause absolute chaos.

AJ Evans (as Harry) is arguably one of the most deplorable members of the group. Having previously shone as  Mrs Bennet in Pride and Prejudice  at the Old Fitz Theatre, Evans once again proves his talent for comedy — this time of a much darker shade. Similarly impressive is Jack Richardson (Hugo); with just the right amount of pause and tone, his outbursts command attention.

While often disturbing, POSH is also sharply funny with a witty script, punchy delivery and bold direction by Margaret Thanos (Furious Mattress). The pomp and ceremony interjected into the club’s rituals add layers of absurdity. The protocol calls for games, dancing, poetry, and singing. With every toast, the men imbibe, and the dinner gets more out of hand. The revelry turns to hazing, with one of the club members (Dylan O’Connor as Toby) forced to drown wine glass after wine glass which members have added questionable substances to including salt, spit, and worse.

The play delves into the divisive rhetoric of “us versus them”, portraying a club steeped in bitterness toward the lower classes that compel them into hiding. Shouldn’t they have the right to live as they please? They bristle at the public, whose entrance fees to visit their estates, fund their upkeep. Compelled by conniving Alistair (played by Christian Paul Byers) their bitterness festers and turns into desire for revenge against those they blame for their fading power.

The Riot Club embodies men who think they can bribe their way out of any situation, believing that money can justify any behaviour. Arrogantly telling working-class pub owner, Mike Booth, ‘We may not be to your taste, but we always pay our way,’ shoving wads of cash at him. And in that moment, you can feel it — this play is about to take a much darker turn.

The boys exude pomposity, sleaze, and a deep-seated misogyny, often laced with snide, derogatory remarks towards women. This play primarily revolves around the lads, though a few key roles are given to women. Dominique Purdue as Rachel the pub owner’s daughter, and Scarlett Waters is feisty escort Charlie, each holds their own against the men.

The dinner unfolds in a rustic country gastropub, making the theatre’s setting inside the Old Fitz pub a perfect match. Each time the cast opened the door, the natural sounds from the bustling upstairs pub seamlessly spilled into the fictional world.

The staging by set designer Soham Apte was nothing short of remarkable, especially for an independent theatre production. Despite the venue’s intimate size, Apte transformed the space with a high-end, visually compelling backdrop complete with wood panelled walls, a window and functional staircase — the last of which were cleverly integrated into the action throughout the performance. Apte also led the set design on the grandiose Frame Narrative (also staged at the Old Fitz Theatre) and demonstrates a talent for designing sets that not only look impressive but also allow the cast to move fluidly through them.

There were moments I had to look away but turning a blind eye isn’t the answer. Privilege thrives in the shadows, and POSH brings it to light. It exposes the one percent, showcasing men behaving terribly in the most captivating way. A brilliant, engaging, and thoroughly entertaining performance. Highly recommend.

4.5 stars.

Presented by Queen Hades Productions. POSH is playing at the Old Fitz Theatre, until 17 May 2025.

For tickets visit Old Fitz Theatre