It was plain even on the rehearsed
reading debut of Mike Bartlett’s play in 2010 that, in the unlikely
event that it was not explicitly conceived as such, it would make an
excellent double bill with the same writer’s
Cock. Its première full staging now
clarifies the governing metaphor in a similar way. Like
Cock,
Bull is staged in an arena of
combat: more of a wrestling ring in Soutra Gilmour’s design, with
audience raked steeply on all four sides and some standing just outside
the square playing area. However, the structure of the piece itself
resembles a bullfight.
Where
Cock is about personal
power-plays,
Bull is about
professional ones. As three white-collar employees gather for a meeting
with the boss which will result in the sack for one of them, it is soon
apparent that the two sharper and more assured candidates are working
together to goad and play on the insecurities of the third. They are,
in effect, picadors. When the boss enters and sides with them, he is
performing the role of the matador; Thomas the bull is not yet dead,
but the decisive blows have been dealt. In the final phase of Clare
Lizzimore’s production (which tours after this home-venue run), the
poor chap is reduced to bellowing wordlessly and flailing around,
making the taurine parallel more apparent still. Sam Troughton’s
diffident edginess is nicely exploited and ratcheted up by Adam James
as the contemptuous, mocking Tony and Eleanor Matsuura as the more
coolly disdainful Isobel; Adrian Lukis’s Mr Carter is one of those
bosses who seem to think it a waste of time to allow anyone else to
complete a sentence.
For me, the final impact of the brief piece (a mere 50 minutes) came
after its close, when a friend remarked to me that he believed many of
the audience were rooting for the picadors, buying into their rationale
about culling a weaker member of the tribe. In contrast I had not only
been sympathising, even identifying, with the bitch-slapped Thomas, but
had found it inconceivable that a spectator might morally tolerate such
conduct as was meted out to him, even in dramatic form. Bartlett and
Lizzimore play us, whatever our standpoint; and they do so more subtly
and thoughtfully but no less deliberately than Tony and Isobel play
Thomas.
Written for the Financial
Times.