If some of the detail of Mike Bartlett’s Cock now feels a little dated, the skill of his writing is as fresh as ever, performed brilliantly at the Ambassadors Theatre.
Watching Mike Bartlett’s play Cock today, it seems strange to think that it was actually written 13 years ago, as it covers themes that are so resonant with life in 2022.
Mike Bartlett’s Cock invites suggestive comments, but the main thing about the play is that it has proved to be a magnet for star casting.
Theatre has always been a place to explore identity by using different character perspectives to consider points of view, social structures or inherited notions of what an individual can and should be.
Television and big screen fame is a major driver for West End producers. Opened last week are Taron Egerton and Jonathan Bailey in a new production of Mike Bartlett’s COCK, and the lowest ticket price is £65, with the bulk at £100 or more, so it also translates to big prices.
Mike Bartlett’s mischievous, half-earnest play is about a gay man wrestling with his identity (and his furious partner) after falling for a woman. Who he loves both as a person and – to his confusion – as an anatomy. It’s clever to revive it in this even more gender-anxious time.
Taron Egerton, Jonathan Bailey, Jade Anouka and Phil Daniels will star in C O C K, the first West End production of Mike Bartlett’s Olivier Award-winning play about love and identity.
Mark Shenton reflects on the careers of two young gay actors, the late Marcus D’Amico and Jonathan Bailey (recently seen in Bridgerton), & their different experiences of the arts industry in different eras.
We should celebrate the fact that within the space of a year London has played host to stagings of not one but two Sondheim masterpieces that have all but redefined them in theatrical terms: Company and Follies.
Come From Away, Company and The Inheritance led the way with four awards each at the Olivier Awards 2019 with Mastercard, announced at a ceremony tonight (Sunday 7 April) at London’s Royal Albert Hall, hosted by Jason Manford.
Just the one more trip to see the glorious Company at the Gielgud Theatre before it sadly departs. Marianne Elliott’s multi Critics Circle Award-winning and Olivier-nominated revival of Stephen Sondheim’s modern classic must finish tonight (30 March 2019).
Musicals Company and Come From Away top the Olivier Awards 2019 nominations with nine nods each, while The Inheritance is the most recognised play with eight nominations. The ceremony takes place on Sunday 7 April at the Royal Albert Hall, hosted by Jason Manford.
Mind the Blog rounds up her favourite male performances in the theatre during 2018.
Mark Shenton offers reviews, news, interviews and tweets of the week from the West End, Broadway and beyond.
Marianne Elliott’s new and updated production of Stephen Sondheim’s Company is so utterly necessary. And I use the word necessary very deliberately.
The moment Company opened younger audiences who had never seen it before similarly lamented that it could ever have been done with a man. ‘But it’s a woman’s story’. And for 2018 it is. It could only be.
Marianne Elliott’s Company is a show for a 2018 audience. Take yourself down to the Gielgud Theatre to see the musical which is sure to sweep the next Olivier Awards.
Phone rings, door chimes, in comes an adaptation of Company that subtly but definitively realigns it for a contemporary audience and makes you wonder how you could ever go back to the original as is.
Marianne Elliott’s production of Company is the comeback kid, another demonstration that Britain is natural Sondheim country: all dry wit and laughing resignation.
Marianne Elliott brings Company to the West End with a production that may well change the musical forever.