Review: COCK, The Cockpit

Photo credit: Shay Rowan

Directed by Rupert Hill (best known for his long stint as Jamie Baldwin in Coronation Street), a fresh new revival of Mike Bartlett’s play, Cock, has arrived in London after successful runs in both Merseyside and Manchester.

The play centres around John (Callum Ravden), interestingly the only character in the script who is given a name, and his unexpected struggle with his sexuality. He has been in a long-term relationship with his male partner for years, but decides they need to take a break when he comes clean about his recent sexual experiences with a woman he is now falling in love with. A problematic love triangle is inadvertently created and attempted to be solved during a dysfunctional dinner party - what could go wrong?

Seeing Cock at the Cockpit may sound like an altogether different kind of invitation, but despite the play’s namesake, audiences will be relieved (or perhaps somewhat disappointed!) to know that this isn’t a play about nudity. The staging, however, is something which has been completely stripped bare, with nothing but four lampshades dangling from the ceiling to signify a somewhat domestic setting. There are no props, and no set or costume changes. The characters' every move are up for scrutiny as the cast perform to an audience seated in the round; with no backstage area available, they sit amongst us while waiting to enter a scene.

Performing this kind of play in the round accentuates a feeling of vulnerability as the plot line explores sexuality, conflicts of identity and the complexity of navigating relationships. Although, during pivotal moments, it’s the luck of the draw whether you actually get to see characters' interactions, depending on where you are seated.

The play holds our attention due to Mike Bartlett’s snappy, playful dialogue and the cast’s ability to keep up a fast pace, particularly John O’Neil who plays the character of John’s partner ‘M’. O’Neil brings a measured level of sass and spite to a character who, at his core, is actually in deep pain while grappling with rejection. Hannah Ellis Ryan and Toby Hadoke inject fresh energy into the couple’s dynamics; Ryan playing the divisive character of ‘W’, who is the one to turn John’s head and heart. Hadoke gives a convincing performance of a father who haphazardly tries to advocate for his son ‘M’, but ultimately brings further disruption into an already tense scenario.

Running at 1 hour 50 minutes including an interval, the show is punctuated with scene transitions that feel oddly placed and could potentially be utilised differently as clearer markers for the passing of time. The cast breathes whimsy and wit into the script, however, for a play which revolves around love, lust and everything in between, it feels like there is a lack of intimacy on stage. Characters are consistently apart, barely touching, which makes it difficult for chemistry to develop. Again, this could be a casualty of performing in the round, where the cast are constantly needing to perform outwards to the audience surrounding them, but it makes us wonder whether a more naturalistic and intimate setting would have encouraged deeper connections on stage.

*** Three stars

Reviewed by: Chess Hayden

Cock plays at The Cockpit in London until 11 July, with further info here.