Review: COCK at Théâtre Des Capucins

For our last review of the 2023-24 season, we attended the play Cock at the Théâtre des Capucins, produced by our esteemed Théâtres de la Ville and directed by Anne Simon. Originally created by Mike Bartlett back in 2009, it became an international hit due to its bold and humoristic approach to the spectrum of sexual orientations and the concept of personal identity.

The story focuses on John (Philipp Alfons Heitmann) who one day decides to break up with his boyfriend (Tom Leick-Burns) after many years of dating. Shortly after understanding that their personalities are not compatible and calling it off, he meets a woman (Elisabet Johannesdottir) with whom he has his first heterosexual experience. His lack of assertiveness and incapacity to make up his mind leads him down weeks of doubt, living a double life with the two lovers. This toxic triangle ultimately culminates in a dinner where John is unexpectedly faced with his former father-in-law (David Calvitto).

Heitmann’s character was quite clearly at the heart of the play. The actor’s display of genuine confusion springing from an easily influenced personality at times almost made John seem numb. We gradually understand, however, that this strange sense of apathy derived from an overwhelming exhaustion, resulting from both straining interpersonal relations and the pressure to define himself. You will likely take multiple sides during the show, but it is Heitmann’s magnificent speech at the end of the play that fully defines both John as a person and the message of the narrative.

Leick-Burns was probably one of the funniest performers we have seen in 2024. The humoristic nature of the character did open the door to some performative liberties, which he brilliantly used to engage in a decent (and very often toxic) dose of sarcasm. Having seen him in such different roles in the past, it was truly delightful to see his display of artistic versatility in this unexpected comedic tone.

Johannesdottir gave us the most physical of all four performances. The actress’s delivery was closely tied to facial expressions, glances, body language and overall movement. The manliness and gracefulness of her character was a topic often discussed during the play, so there was indeed no better way to approach this dichotomy than with a more physical approach to the role. Her sweetness and apparent commitment to John were very often perceivable in glances and smiles, something which ultimately provided a foil to Leick-Burns’s sarcasm.

Calvitto was sadly only present for the last act, but still managed to introduce us to a multi-layered and complex character. In his brief time on stage, the father showed us how someone pushed into progressive thought by circumstance can still remain subject to old black-and-white views of the world. Despite well-meaning, his presence at the dinner meet-up is very clearly uncalled for and results in more harm than good. It still is, nonetheless, a great way to show how the boyfriend handles a challenge and pressures his way out of a conflict.

As usual, our thanks to the Grand Théâtre and everyone involved.

To reach out to the writer: nuno.de.sousa.lopes@gmail.com

Photo Credit: Alfonso Salgueiro