There is no doubt in my mind that bullies and people who intimidate abound in Australia. It would seem that this is the case in the Australian parliament where Julia Banks, my local member resigned with these stinging words:

They know that I will always call out bad behaviour and will not tolerate any form of bullying or intimidation. I have experienced this both from within my own party and from the Labor Party.

The scourge of cultural and gender bias, bullying and intimidation continues against women in politics, the media, and across businesses. In anticipating my critics saying I’m “playing the gender card” – I say this. Women have suffered in silence for too long and in this last twelve months the world has seen many courageous women speak out.

Here we are presented with a worldview from Julia that clearly says she is a victim of bullying and intimidation in her job. She goes on to say that there is still a cultural and gender bias with politics.

She says that women have suffered in silence way too long.

Support has been plentiful for her position. Kelly O’Dwyer, Sarah Hanson Young among them.

However, others continue to down-play the behaviour. Something that I’ve seen many times. When those of us in the GLBTIQ community say that we are subjected to bullying and intimidation the response from some quarters is to downplay it and tell us that we’re not that badly off, that we need to toughen up.

The missing value here is those that deny the situation haven’t taken proper stock. If someone says that they’re the subject of a bully, then we need to listen to them.

Craig Kelly MP missed the mark when he said her resignation is the wrong thing to do and that she should “roll with the punches in this game”.

Roll with the punches? Such a violent, graphic image. Why should the game require punches at all? After all, this isn’t a game; it’s real life. This is her real job. I’d suggest that approaches like Kelly’s are the issue. Rather than check his behaviour, he tells her she’s wrong and to toughen up.

The Guardian in their article says this:

Former Liberal minister Concetta Fierravanti-Wells and the president of the federal women’s committee, Helen Kroger, both said on Thursday that claims should be properly investigated. But Kroger said she didn’t believe there was a bullying culture and Fierravanti-Wells appeared to blame Malcolm Turnbull.

There should be no ‘but’. The conversation needed to stop at ‘properly investigated’.

For Helen Kroger to suggest that there isn’t a culture of bullying is to turn a blind eye to the issues. Craig Kelly more or less acknowledges the problem, Helen Kroger ignores it. That’s her way of dealing with it. Concetta Fierravanti-Wells won’t admit it as a problem, and if it is would instead point at someone else and say ‘look over there’.

We have seen outright lying, sexism, misogyny and now bullying and intimidation.

This is no way to run a country. It’s not good enough to ‘investigate’. If our newly and temporary Prime Minister had any sense, he’d launch a special envoy for bullying and intimidation prevention, throw some money at it, set appropriate standards and change the constitution to allow the dismissal of any MP that breaches the standards.

Because that’s what would happen to anyone else who behaved in a deplorable way.

To bully or intimidate anyone is unacceptable.

Bare The Musical is an emotional roller coaster that will have you gasping for breath as you journey with a bunch of teenagers making the transition from adolescence to adulthood.

We join a group of students in their final year at a Catholic boarding school, making preparations for the end-of-year play, Romeo and Juliet.

The storyline cleverly integrates the tragedy of Romeo and Juliet into the lives of the students. We can see parallels between the two as the story moves along.

It’s a compelling tale, one that we have heard and seen so many times. It’s a typical story about teenage angst. The tension between the boys and the girls, the competition between friends, the need to fit in and conform, the adolescent awkwardness and the overarching influence of religion in their lives.

The tension is palpable as the students ready for their performance. Underlying that tension is the battle with sexuality and the church. Our hero, Peter isn’t really struggling with his sexuality, he knows he is gay. His struggle is with how to tell his mother, how to reconcile his feelings with a church that tells him he is a sinner and most importantly how to get his boyfriend, Jason out of the closet.

It’s a potentially horrid time in the life of a young gay man. I know, I’ve been there. In a Catholic school, surrounded by boys who mock, tease and torment anyone who shows a hint of being gay. This musical gets that uncertainty, and the deep-seated fear of being different, right.

The love between Peter and Jason is innocent and sweet. It’s the sort of forbidden love that you know is just waiting to blossom. The actors portray a deep emotional connection with each other as they take us along on their love story of trust, betrayal and redemption.

The storyline drew me in, the world around me disappeared, even the uncomfortable seat of Chapel Off Chapel didn’t distract me as I laughed and cried with the performers.

And cry I did. I cried as I listened to Peter reach out to his mother, told him how alone he felt, how much he needed her and she denied him that.

I cried as Jason tried to sort out his life in the confessional. As he desperately tried to reconcile his faith with his sexuality and came up bare.

I cried as the final song played, the raw tragedy of a young life lost and the grieving of his friends.

I sat stunned as the final moments rolled in and I understood the complicit nature of the church in the death. How the last number No Voice echoed the injustice of a rigid Catholic system that is hellbent on keeping its magisterium intact.

As the lights blinked out, I gasped and covered my mouth in shock at the symbolism in front of me.

All through the play, I saw the potential of suicide. These young people were in desperate times. Whether it’s the unexpected pregnancy, the slut-shaming, the body-shaming or the rejection of love, the possibility of suicide was there.

The acting was outstanding. It seemed that I was watching their real lives play out in front of me. They really did take me along for the journey. I felt the joy, the angst, the fear and the sorrow.

The singing was superb, from the opening number Epiphany in the chapel, to the lament of Best Kept Secret and the hilarious God Don’t Make No Trash, it told the story of the rich and deep lives of this group of youngsters.

Overall the play has an anti-catholic feel to it. A couple of numbers balance that a little. It’s pretty clear that the priest carries the churches line and the nun is far more accepting. Mostly it seems like an accurate reflection of where the church currently sits in relation to sexuality.  I can see how you might squirm a bit if you are Catholic and believe in god.  As a social statement, there is an undertone of ridicule and an attempt to hold the church to account.  The cry of Are You There? as the students seek answers to their prayers says it all about the futile nature of needing divine intervention in your life.

Make no mistake though, the message is clear. That teenage angst puts these kids on the edge of oblivion. The pressure to conform is real. Sure, it’s not unusual for any of us to have our hearts broken, and our first loves disappoint. When you’re already vulnerable, however, it’s vital and incumbent on the adults to have empathy, and more importantly, take on the role of mentor and friend to help guide the next generation into happy, healthy lives.

Chapel off Chapel is an ideal venue for this musical.  You’re sitting in an old church decked out with its stained glass window.  The lighting is stunning and the soundtrack performed by a live ensemble makes the show.

Bare, The Musical is on at Chapel off Chapel until April 15th, 2018.