Review: Cock

by Mike Matthaiakis

In Mike Bartlett’s play “Cock,” the provocative title, intentionally designed to elicit curiosity and raise eyebrows, conceals a narrative exploring sexuality, gender expression, and identity. Initially premiered at the Royal Court in 2009, the play has evolved through subsequent productions, including a more modern take directed by Marianne Elliott, with Merle Hensel’s futuristic spinning set design.

Set against a backdrop of changing conversations around sexuality and gender identity, the play centers on a central couple, M (Taron Egerton) and W (Jade Anouka), torn apart by the introduction of a new lover, F (Phil Daniels). The characters are coded with gender-specific labels and costumes – M in blue, W in red, and F. However, these binary distinctions are challenged throughout the play as the characters grapple with desire and attraction.

While the play attempts to address evolving perspectives on sexuality and gender, it is noted that some aspects of the dialogue rely on tired stereotypes and outdated notions, particularly around gay men and heterosexual partnerships. The characters are named by single letters (M, W, and F), reinforcing traditional gender norms.

The story gains momentum in discussions about desire, moving away from binary notions and exploring the fluidity of attraction. Annie-Lunnette Deakin-Foster’s choreography adds a layer of beauty to the production, capturing the characters’ angst and lust through fluid movements. The conversations about compatibility and what makes people connect are more compelling than stereotypical discussions about family and gender roles.

Jonathan Bailey, portraying John, emerges as a star with undeniable charisma and a magnetic presence. His chemistry with Jade Anouka is particularly captivating, bringing depth to their characters and their interactions. On the other hand, Taron Egerton’s portrayal of M, while earning laughs, falls a bit flat in the more sincere scenes, impacting the overall balance of the performance.

Despite the play’s occasional reliance on tired tropes and the imbalance in chemistry between characters, “Cock” serves as a lens through which to gauge societal progress on the road to acceptance. The narrative illustrates how far society has come in embracing diverse identities and relationships while acknowledging the ongoing journey toward complete acceptance. While not without its flaws, “Cock” provides glimpses of passion and electricity amid a changing landscape of understanding and tolerance.

COCK is running through 4 June at the Ambassadors Theatre.