[NEohioPAL] Berko review: COCK @ Dobama

[Roy Berko]

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 *Engrossing, impressive, compelling COCK at Dobama*



Roy Berko

(Member, American Theatre Critics Association, Cleveland Critics Circle)



Definitions for the word *cock* include: an arrogant person, an adult male
chicken who often controls a territory, a device for regulating flow, a
hammer in the lock of a firearm that insights action, to tilt to one side,
and is slang for a penis.  All of these explanations are relevant to the
development of Mike Bartlett’s brilliantly conceived script, COCK, which is
now being performed at Dobama Theatre.



The story centers on John, ironically the only person in the script who
actually has a name, though he is also the only person who does not have
the ability to identify who he is.  John is in a long term relationship
with M, but seemingly doesn’t know why.  He meets W, a divorced woman who
is willing to accept his bisexuality.  This creates a love triangle, with
John as the fulcrum, which has to be dealt with.  But John is paralyzed by
indecision, and becomes a self-volunteered pawn in a battle for his
affections.  His conflict is not over whether he is gay, straight or
bisexual, but who of, “Who am I?” Interestingly, we don’t know enough about
John’s background to understand why he becomes frozen when
self-responsibility and decisions have to be made.



As the characters are revealed, the title of the play becomes clear.  M,
John’s arrogant stock broker partner, controls the roost, his expensive
condo.  He regulates all within that territory, including John.  M incites
reactions in John by belittling his handsome boy toy and playing on John’s
lack of ability to make decisions that would change the status quo.  Everything
is tilted in M’s direction, including their love making.  Controlled, that
is until W enters their lives.



Bartlett sets up the play as a battle. Corey Atkins, the play’s director,
takes that lead and places the action in a theatre-in-the-square, with the
audience on all four sides, much as in a boxing match.  The characters each
sit at a corner of the stage, like fighters about to enter the ring.  Both
M and W often circle John and each other, sparring for an attack position,
hoping for a knockout.



Atkins’ direction is meticulous.  He understands the script as well as how
to bring out its concepts and undercurrents.  Each character is clearly
etched, the play is well paced, and pauses are wisely used to highlight the
action and inaction.   He creates scenes where nude observation and even
copulation take place while the participants are fully dressed and don’t
even touch each other.



Handsome Andrew Gombas is both physically and emotionally perfect as John.
At one point in the action, W asks John what is his best feature.  He
answers, “my eyes.”  Yes, Gombas’s eyes are amazing.  When he is unable to
make a decision, he is like a deer caught in the headlights.  His huge eyes
become blank, unmoving.  He stands frozen, unblinking.  He becomes
completely mesmerized.  His mouth freezes in a straight line, unable to
open and speak.  His anguish becomes the audience’s anguish.  When he does
speak, there is strain and anguish in his voice.  This is a very impressive
performance.



The dark haired, sensual Drew Kopas, as John’s lover, M, gives a textured
performance.  Slightly effeminate in his actions, his underlying attack dog
emotional swings, of strong negative devices to control John, balanced by
his desperate desire to hold on to the boy for whatever reason—pride,
needing someone to control, love--are fascinating to observe.



Lara Knox, as W, is appealing and creates a woman who is compassionate,
yet, one can only wonder what motivates her to want a man unable to make a
decision or a commitment.  Is she, in fact a female cock?



Bob Keefe creates in F, John’s liberal and affirming father, a man who has
M’s best interests at heart, but may, as W points out, have an ulterior
motive in wanting John around.



Their clothing is ingeniously integrated into each character’s persona.  The
whippet thin M wears high fashion skin tight shirt and jeans, creating not
only the picture of a well-dressed gay man, but one who desires to create
the perfect image that is reflected in his condo and his beautiful
boyfriend.  John’s clothing, on the other hand, is bland, slightly
oversized, creating an illusion of someone who desires to draw no attention
to himself or his body, who wants to be swallowed up.



W’s sensual red dress, accenting her physical endowments, parallel’s M’s
wardrobe in an attempt to create a character of sensuality.  F’s tweedy
appearance enhances his liberal professorial persona.



Though vivid language is used throughout the show, it is so integrated and
necessary for the development of Bartlett’s themes, it becomes “words that
create meaning,” and nothing more.

* *

*CAPSULE JUDGEMENT:  COCK, Mike Bartlett’s compelling script, under the
meticulous and creative direction of Corey Atkins, and some of the very
best acting seen on a local stage, is an absolutely must see production.  It’s
an A+ experience.    *

* *

COCK runs through November 23 at Dobama Theatre.  Call 216-932-3396 or
http://www.dobama.org for tickets.

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