Skip to main content

REVIEW: Cock by Mike Bartlett

Matthew Connell (John) and Marissa O'Reilly in Cock

John has been with his boyfriend for seven years, so it’s a surprise to them both when John meets and falls in love with a woman. But is it love or is it infatuation? Or maybe it’s just the allure of something different or a kind of normalcy that society has convinced him he really wants?

Mike Bartlett’s Cock is a brutal play about society’s expectations – the kind that is bred into us – and a man who cannot make a decision. This production, directed by Beng Oh, is fast-paced and never lets up long enough for the audience to catch its breath. One minute, John and his boyfriend’s relationship is breaking down. The next they are reconciling because the woman John has fallen in love with is following him, stalking him.

Or is that the lie that John tells his boyfriend to make everything seem better? Like when John tells him that the woman is “manly” – as if that might soften the blow, as if you can ever soften the truth that you’ve cheated on someone.

I first saw Cock at the Melbourne Theatre Company five years ago, where I had a lot of sympathy for John. I identified with the character because he was torn between what society expected of him and what he thought he really wanted.

There’s a moment late in the play where John’s boyfriend’s father says John must choose what he is – as if he must be gay or straight, one or the other. Even for an older man being enlightened enough to accept his son and his boyfriend, he can only see the binary – gay or straight. John knows enough to know that he might not be one or the other – he might be a stew.

This production, first staged at the Meat Market in 2018, embraces the battle at the heart of the play. It’s not one cock fight, though. It’s a series of increasingly tough clashes between John and his boyfriend, John and his girlfriend – and a battle royale at the end with everyone head-to-head.

Matthew Connell’s John is the epitome of indecision; not that the performance is unclear. This John is suffering, not because of the choice everyone expects him to make, but because he’s clearly in an abusive relationship. John is a tough character to like, but Connell embodies a man who has lived so long with a man who treats him badly, that you understand why he cannot make up his mind.

John’s boyfriend (Shaun Goss) and girlfriend (Marissa O’Reilly) are both more complicated than they first seem – and absolutely flawed, too. The rapid-fire dialogue sometimes makes it hard to engage with anyone emotionally, but there’s something very watchable about Goss’ on-edge boyfriend and O’Reilly’s stuck-in-her-head girlfriend.

Scott Gooding as the father is a breath of calm fresh air in the middle of the battle, but he’s also stuck in his ways and hampered by how society has raised him.

It struck me on this viewing of the play that this very clearly isn’t a play about bisexuality – it’s about the how false the choice that John faces is: the idea that he has to choose between a man or a woman. Never once does he consider choosing himself by choosing to be single.

And none of the others consider this either. Society has trained us to think we must be in relationships, even bad ones – and we’ll fight to the death not to be alone, even if it makes us unhappy.

Comments

Popular posts from this blog

My Favourite Theatre of 2018

It’s that time of year again, when I look back over everything I saw on stage and put together a list of my favourite shows. I saw over 100 shows this year, mostly in Melbourne and a small number on one visit to Sydney.

I will link to reviews if I wrote one.
TOP TEN (alphabetical order)
The Almighty Sometimes – Griffin Theatre, Sydney
Kendall Feaver’s extraordinary debut play is about Anna, dealing with mood disorders and medication and the complicated relationship she has with the treatments and her mother. Superb cast and beautifully directed by Lee Lewis
Blackie Blackie Brown – Malthouse Theatre
Nakkiah Lui’s work is always amazing but this production, directed by Declan Green, was another step up for her – the satire sharper and bleaker and more hilarious than ever before.
Blasted – Malthouse Theatre
Sarah Kane’s debut play from 1990s London is a tricky beast tackling difficult subjects but Anne-Louise Sarks nailed it with a superb production.
The Bleeding Tree – Arts Centre Melbourne

Melbourne Fringe: The Mission by Tom Molyneux

The widespread use of Acknowledgement of Country throughout the theatrical community is a good reminder that we live and work and tell stories on a land that has been home to Australia’s Indigenous people for forty-thousand years. Any Fringe show presenting work on the lands of the Wurundjeri people in the Birrarung are continuing a very long tradition.
Performer Tom Molyneux’s Acknowledgement of Country feeds directly into the story of The Mission; “sovereignty has never been ceded” is a strong jumping-off point for a story about our Indigenous population’s autonomy.
This personal history begins thirty-thousand years ago at the forming of Budj Bim, a volcano in Western Victoria. The Budj Bim area is a very important one to the Gunditjmara people, a site where they developed a system of aquaculture, thousands of years before European settlement.
After European settlement, it was the site of Eumerella Wars, where the Gunditjmara were overwhelmed and killed by colonisers who had the su…

Melbourne Fringe: Sleepover Gurlz by Emma Smith & Vidya Rajan

Theatre can happen anywhere. It can happen in big rooms, small rooms, warehouses, carparks and shipping containers. I saw a show on the streets of North Melbourne once. And one in the back of a car.
Sleepover Gurlz isn’t the first play I’ve seen performed in a bedroom, but this one uses its space and its premise to great effect; the intimacy is vital and this show is as much about the bedroom space as it is about the women sharing it.
Before the show, the audience is ushered upstairs to a living area to colour and paste and find their inner child. It’s an irresistible moment of pleasure that you almost regret being dragged into the bedroom for the party itself.
Creators and performers Emma Smith and Vidya Rajan are six-year-old girls, welcoming the audience to their sleepover party. We are the other girls at the party, sharing snacks and interacting with the friends who have invited us over. It’s charming and funny and silly. There’s a game of “Chinese whispers” and the uninhibited th…