Not that adulthood is entirely perfect; showman Beulah Koale's self-awareness is deep, but he's still "scared of girls". Cue a hilarious drag dreamgirl sequence led by Cotter, all cheeky expression and wicked eyebrow.
Jonny Moffatt and Cotter also raise laughs with a dancehall parody about "shots on Ponsonby Rd" (flat white double shots, that is).
More generic are the supposed life lessons: "I don't have to alter me to be me" and so on.
Jane Hakaraia's sympathetic lighting warms and fills the bare stage, and the incidental electronica is sweetly delicate, which works nicely against assumed ideas of masculinity.
However, the birds twittering Disney-style are misplaced at the end of Andy Sani's heartfelt tribute to his mother, who has cancer; luckily, the actors work against such schmaltz and it is easily ignored.
The dance varies the pace nicely, and provides some of the show's best and most original sequences.
The all-male cast makes sense, thanks to the physicality between actors rather than their individual tales.
They leap and hold each other athletically, roughhousing affectionately as boys do before they become old enough to learn restrictive self-consciousness. Masculinity presented as warm, generous and playful.
