BWW Reviews: Rogue Machine Mounts a Strong COCK
By: Gil Kaan Sep. 15, 2014
Cock/by Mike Bartlett/directed by Cameron Watson/Rogue Machine (in Theatre/Theater) /thru November 3, 2014
Mike Bartlett's Olivier Award-winning Cock receives a sturdy mounting in its Los Angeles debut.
All the elements on this Rogue Machine production perfectly come together, much like a successful recipe for the delicious cheesecake presented for dessert near the climax of Cock.
The ideal convergence of Mike Bartlett's incredibly realistic script vividly emoted by the very talented four member cast, as tightly directed by Cameron Watson, make for a totally engrossing 90 minutes.
Cock 's staging involves theatre-in-the-round audience seating with no props, no scenery, no changes or taking off of costumes. The entire theatre space's painted in shades of green. Kudos to scenic designer Stephen Gifford for this unique museum-esque performance space. The numerous short scenes go efficiently into the next, delineated only with the quick flicker of the lights. What an great way to not break the smooth pacing of this verbally-action packed piece.
Interesting that only the main character has a given name (John), while the other three (revolving around him) remain nameless.
Cock begins with John (Patrick Stafford) and 'M' (Matthew Elkins) having a disagreement. Through not apparent in the very beginning; we, the audience, find that John and M are lovers and have been for seven years. The argument involves someone John is starting to see. Most surprisingly to M, the someone is a woman.
Bartlett's dialogue flows out of Stafford's and Elkins' mouths so effortlessly and so every-day-like. So easy to see the relationship these two have, even with the continual miscommunications and misunderstandings they must navigate through.
Rebecca Mozo, as 'W,' injects such vitality in her nervous ramblings flirting with John. Not difficult to see the sexuality-questioning John falling for her charismatic charms.
Cock ends with the confrontation dinner M has instructed John to invite W to. For his own moral support (and believed needed physical back-up), M has also invites his father 'F,' wonderfully essayed by Gregory Itzin. Itzin's F's the father every gay son would want. At this dining summit, both M and W expect John to chose themselves over the other. Both have compelling arguments for their own cause, with F brilliantly backing up M.
Unfortunately, at this point, with John's indecision and indecisiveness, I wanted both W and M to reject John. The happy ending may not be recognized by all.
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