Cock (London) London Reviews and Tickets
Show-Score Member Reviews (41)
See it if Simple but effective staging. Great Direction from Marianne Elliot
Don't see it if You like a more complex staging.
See it if You like thought-provoking plays with great performances. You care about LGBTQ+ topics.
Don't see it if -
See it if You like shocking stories that keep you engaged
Don't see it if You like background changes, all scenes are with the same background, leaving the rest to your imagination
See it if You want to see famous, talented actors showcase their talents
Don't see it if You want to see a show that presents a modern take on sexuality
See it if You like a clever play. Found it a little frustrating about the Bi representation but the acting was awesome.
Don't see it if You don’t like to watch awkward moments
See it if You like a well acted one act play with a great cast
Don't see it if You bore easily, it didn’t really seem to go anywhere
See it if you want to see discussion about bisexuality on stage and real insight into queer relationships
Don't see it if you are not open minded and willing to embrace varying perspectives
See it if you like to see great acting in a minimalistic staging, and of course Jonathan Bailey
Don't see it if don't like plays, and can't sit still for 125min.
Critic Reviews (10)
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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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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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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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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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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It's a play that's easier to admire than to love, but nonetheless a challenging, fascinating contest to witness.
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You can easily forgive the lack of thematic development when Bailey, Egerton and Anouka ignite the emotional fuel of the story — they really rock.
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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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