Cock - Final Performance (Royal Court 19/12/09) 28 December 2009

With some forethought I bought a scond ticket for the final performance of Cock and I'm glad I did. Early on, I could tell from the cast and creative team that it would be a memorable production, especially with Andrew Scott playing one of the roles. So seeing it again be worth my time as well as a pre Christmas treat.

First off it was interesting to see changes from a front of house perspective. Obviously, as the show was popular (sold out before the run was even half finished) and word got around about the unusual seating, more people were queuing before the doors opened. This caused a little confusion for the attendees of the Downstairs performance of The Priory as the end of the queue extended into their balcony level's bar.

Early queues that snake down stairs and around corners do give an added level of excitement and anticipation to the evening, much like what it was for films, back in the day. Interesting enough, Cock director James MacDonald seemed very taken aback by the queue when he arrived for this final performance, something I thought odd. He must have been aware that it had been sold out. Maybe it was the fact that the audiences cared enough to queue early that surprised him.

There must have been some issues with getting people into the theatre and seated on time as tickets were now being torn while we were queuing. We were let in close to start time and could only go in one direction (which I discovered when I decided to go the oposite way and was stopped). Also, gone was smell of freshly cut wood. Once in the arena we were greeted, if you could call it that, by a female usher who seemed to be somewhere around nineteen years old, firmly barking orders as people. I was very intent on finding a seat which would give me a diferent perspective and when I located it I took aim.

In order not to disturb those already seated I stepped over the fixed cushions on the first level to take my solitary place to the far side next to the railing on the second level. At this point , the 'lovely' usher barked "Do not step on the cushions. Please use the centre stairs" which seemed an odd thing to request after the fact. I reassured her that I did not step on a cushion, which she replied "then use the centre stairs" which again, was strange seeng that I was already seated. I was surprised at the intensity of 'crowd control'. Crowd being a maximum of around 80 people which is taking into consideration that not everyone showed - there were empty places. I mentioned in my first post about Cock about how lovely the Royal Court staff were. I take it back.

I mention all this because I found it interesting that this little play, in the tiny Royal Court Theatre Upstairs seemed to almost have the feeling of a stadium gig for its final performance. That's saying alot about how audiences have reacted to Cock but also put pressure on the performers to deliver. I was afraid that as they had settled into their roles and as it was a final performance that the subtle aspects would be driven out and replaced by overt comedy but my fears were unfounded.

What was most magical about this performance to me was that all performances had grown in relation to each other. What I found awkward (for the wrong reasons) in the earlier performance - Paul Jesson's 'F' - now works well. His perfomance was no longer a charicature of an 'older generation' but a full fledged individual. This made his sections believeable and it didn't come across as being presented with 'theme' wrapped up in a bow and neatly presented to the audeince. It was integrated.

Of the other three actors, the one whose performance changed the most was Ben Whishaw's. Thinking about it, he may have had the most difficult role. Although he is the centre of the action and is in all scenes, his character is often at the receiving end, with the other characters driving the action forward. This can be difficult because you are always reacting to what is being thrown at you and it could leave you in the dust. Ben's performance found more of the humour and a little more strength than he had in the earlier performance.

All this aside, it was still Katherine Parkinson and Andrew Scott who shined - both finding every conceivable character nuance and flinging it into the arena without ever losing sight of the story. Both, as usual, were excellent but Andrew Scott was in top form. His line readings and takes on situations were beyond brilliant. I was sitting directly opposite the director and was watching his his reactions. Judging by what made him sit up and take notice, smile and laugh this late in the day having seen it umpteen times, I would say that Andrew Scott won. I hate bang on about this (well, I just hope you don't get too bored) but he really can push the boat out - not too far as to get lost over the horizon. He was on top form but never upstaged his fellow performers or lose sight of the characters intentions.

I'm glad a went a second time. The whole experience was alot edgier. Like a fine wine, it's aged well with time. I wondered if this was their peak. Would a longer run have turned it into a huge laugh fest in an attempt to keep it fresh and the actors from getting bored? Like with all theatre, we will never know. It's had it's moment in time and any additional productions would have their own slant, no matter who's in it or directed it. I'm glad I saw this one.