‘Cock’ // Bosco Productions

‘Cock’ was unorthodox. 

Bosco Productions staging of the Olivier Award-winning play ‘Cock’, by Mike Bartlett, pushed the boundaries of the classical concepts of theatre. ‘Cock’ was compelling and organic, with witty dialogue, truthful characters, and astute investigation into the indecision of humanity. Audience members are sure to be left questioning their own ability to make decisions and reflecting upon how the choices they have made have shaped who they are today.

This razor-sharp play follows John, a gay man who unexpectedly falls in love with a woman after his long-term relationship falls to pieces. As questions are raised about John’s true sexuality, he finds he cannot meet the demands of a society driven by labels and wages war between his two lovers. This is a story about sexuality, loyalty, instinct and indecision.  

Helen Howard’s direction was filled with interesting choices. Chief among them was the lack of physical interaction between characters. The actors did not make any contact with each other, yet still very much remained connected and in the moment. Likewise, whenever there was a bodily movement or image described in the text, it wouldn’t be played out, stirring the audience’s imagination of what was actually happening beyond the words. This choice allowed the audience to slip into John’s mind and version of reality. They could not see how things really were, but only how John perceives them.

The largely empty stage had the same effect, transporting the audience from scene to scene with ease.  Encouraging audiences to fill in the gaps of the setting with their imaginations. A more complete set would have limited the possibilities of this piece with its short and succinct scenes and racy dialogue. 

Other elements of this production were tight and added to the overall plot and underlying subtext of the play. Lighting was used to create contrast. During a scene where John’s boyfriend and girlfriend finally meet, the use of lighting gave us further insight into John’s perception of reality at the time. While John and ‘F’ are alone, the lighting is warm. However, when ‘M’ enters and makes bold, passive-aggressive comments as the other two awkwardly converse with him, there is a sharp snap to an icy blue light state. Music was used effectively in the scene changes, setting up the next scene, whilst maintaining the flow and pace of the play.

Julian Curtis perfectly captured Johns frantic energy and indecisive nature. Making short work of the plays quick, witty dialogue, the audience was thoroughly invested in John’s emotional journey. Even though there were a few slips in his snappy British accent, Curtis overall maintained a sharp sense of character throughout. A tiring role, remaining on stage for the entirety of the play, he was always hilariously organic and full of energy. Perfectly projecting his pain and internal conflict, we were on the edge of our seats, waiting for him to make his decision, whilst feeling the inner conflict ourselves; “He should pick her… No, he should pick him… no, he should pick her!”

Derek Draper as John’s passive-aggressive and snobby boyfriend or ‘M’ was commanding yet quirky. His tight blue formal wear immediately broadcast exactly the type of character he was. It was hard to decide if you loved or hated him – a perfect reaction for a character like this. Confident and sarcastic yet behind his mask, is sensitive and insecure, this was a balance Draper struck with ease. With no set and no physical contact, this was a challenging role for even the most accomplished actors and even though Draper seemed to stay on the same level for the most part of the production, his characterisation was compelling.

John’s new-found female lover, ‘W’, portrayed by Ashlee Lollback was easily the most interesting character in the play. An actor in a role like this has to get it right and prove to the audience that she really is as fascinating and incredible as John describes her to be, while still being human. And gosh did Lollback get it right. She was sincere, feminine, and curious, whilst still being believable and complex. With a supported voice and beautiful energy, Lollback was a standout in this performance.

Patrick Farrelly in the small role of M’s nosy father, ‘F’, had a strong on stage for the last few scenes, his contribution to the performance was notable and he blended into the cast perfectly.

This is a play that is sure to leave its audience with more questions than answers. With a well-connected and skilled cast, impressive and interesting direction from Helen Howard and a hilarious, raw script, it is a must-see. It is different, it pushes boundaries, and captures humankind so tenderly.

‘Cock’ plays at Metro Arts until Saturday. 31 August 2019. For ticketing and additional information go to Metro Arts – Cock.