Cock
Written by Mike Bartlett
Directed by Darrell W. Cox
at Profiles Theatre, 4139 N. Broadway (map)
thru April 6 | tickets: $35-$40 | more info
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Life reflects cockfighting in this physically raw, riveting production
Profiles Theatre presents
Cock
Review by Oliver Sava
When Mike Bartlett’s Cock debuted off-Broadway in May 2012, The New York Times had to refer to it as “Cockfight Play” to avoid offense. The antiquated, conservative view of sexuality reinforced by that editorial decision is exactly what Bartlett’s drama is challenging, using one man’s sexual identity crisis to examine the crippling effect of societal pressures. John (Christopher Sheard) is a gay man whose world is turned upside down when he meets W (Eleni Pappageorge), entering a heterosexual relationship that is more emotionally and physically gratifying than what he has with his boyfriend M (Jake Szczepaniak). Over the course of the play’s tense 80 minutes, Bartlett mines the depths of John’s passion, pain, and confusion, building a riveting character study that Profiles brings to the stage with intense vigor.
Brilliantly staged in a cockfighting ring (designed with appropriate grit by Katie-Bell Springmann), Cock uses the tight space to create incredible intimacy between the characters, and the close proximity of the actors means that when the claws come out, people get cut deep. The raw physicality of Darrell W. Cox’s production emphasizes the primal elements of the script, turning these human lovers into animals that peacock for attention, scratch when threatened, and kick up rubber mulch in frustration. It’s an extremely active production; that added movement visualizes the pressure John feels and creates an environment that can explode into aggression at any moment. But what makes Bartlett’s script so exceptional is how it balances that violent hostility with tenderness and humor, fully capturing the highs of these romances before delving into their lows.
The first two extended scenes show specific moments from John’s two relationships over an extended period of time, with the first focusing on John and M while the second spotlights John and W. M and W don’t share the stage until the third scene, which brings the three lovers together for dinner with an unexpected fourth party, and keeping the two apart makes their individual narrative tracks more compelling. Like M in that first scene, the audience has no context of John’s relationship with his mistress, making it easier to sympathize with M’s dramatic, pained reaction to the news. Without ever seeing John and W together, it’s clear from Sheard’s performance during those initial moments that John’s feelings for the woman are genuine, and when Pappageorge does take the stage, the two actors have an instant chemistry that makes their relationship completely believable.
W is immensely likable from the start, and her warm sensuality makes John blossom to life. Pappageorge evokes a sense of W’s uneasiness diving into this romance, but also her perseverance in overcoming that apprehension so that she can fully dedicate herself to this new love. She’s compassionate, but like all the characters in the play, she also has her own selfish motivations. As the cockfight continues, those egotistical impulses begin to govern behavior, turning the people around John into combative forces of individual willpower while he cowers in fear, less and less sure of his own identity.
Szczepaniak has an assertive flamboyance that aligns him with a more traditional gay stereotype, bringing a feistiness that works especially well with the script’s humor. It’s a strong contrast to John’s more subdued, butch personality, and that distinction is also applied in Raquel Adorno’s costumes, dressing M in tight, colorful, multi-layered outfits while John sticks to dull combinations of jeans with a sweater, t-shirt, or button-up. It’s clear that M is the dominant force in this relationship, so when his position of power is threatened, he reacts in extreme ways.
M’s most manipulative move is inviting his father to the dinner, and the tension on-stage reaches a boiling point once an acerbic Larry Neumann, Jr. enters the ring as F. An abrasive character that is fiercely loyal to his gay son, F is trying to adjust to changing times, but struggling to keep up. It’s already taken him a while to accept that homosexuality is not a personal choice, but a biological characteristic, and he’s frustrated with John because his actions challenge the ideas F has forced himself to believe. Through F, Bartlett makes some intriguing arguments against fluid sexuality, and the introduction of a fourth perspective adds remarkable depth to the script.
Caught in the middle of all this is Sheard, who does exquisite work realizing John’s internal conflict. He’s often overwhelmed by fear and doubt, but there are also beautiful moments of strength and courage, painting a portrait of a man desperate to find the path to happiness, but not yet ready to take any steps on it. To move forward, John has to overcome the pecking and scratching inside the cockfighting ring, but with three against one, the odds are stacked against him from the start.
Rating: ★★★★
Cock continues through April 6th at Location, address (map), with performances DATESnTIMES. Tickets are $35-$40, and are available online through PrintTixUSA.com (check for half-price tickets at Goldstar.com). More information at ProfilesTheatre.org. (Running time: 80 minutes, no intermission)
Photos by Michael Brosilow
artists
cast
Larry Neumann, Jr. (F), Eleni Pappageorge (W), Christopher Sheard (John), Jake Szczepaniak (M).
behind the scenes
Darrell W. Cox (director), Katie-Bell Springmann (set design), Mike Durst (light design), Jeffrey Levin (sound and original music), Raquel Adorno (costume design), Kaylie Honkala (stage manager), Scott Wolf (asst. director), Michael Brosilow (photos)
14-0236
