Despite the best efforts of the cast, the characters always feel primarily like sexual chess pieces engaged in a game in which there can be only one victor.
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There are glimpses of pure passion and electricity, but there are also some overdone and tired tropes. However, watching COCK illustrates how far we’ve come in society’s road to acceptance — and how far we still have to go.
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Performed with no props, and with many gestures (such as the removal of clothes) implied rather than carried out, ‘Cock’ is funny and playful but with a stark psychological intensity through its minimalism.
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Terrific at conveying hurt, yearning and simmering self-doubt, Egerton now stars in Marianne Elliott’s revival of Mike Bartlett’s 2009 play Cock, a piece smartly and tragicomically about ongoing confusions of sexuality, the suffocating restrictions of categorisation and the agonies of the heart.
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Similarly, Marianne Elliott’s meticulous, eloquently stylised revival features a cast whose star appeal is matched by their impressive stage credentials.
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It's a play that's easier to admire than to love, but nonetheless a challenging, fascinating contest to witness.
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The scene where John and W make love, all the while standing on opposite sides of a revolve, like horny, socially distanced citizens, raised a smile. Otherwise, this was an hour and 45 minutes of tedium.
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First performed in 2009, Mike Bartlett’s comedy might have seemed edgy then but today it echoes and affirms notions around the slipperiness of sexual labelling.
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