Change Partners and Dance

Cock

There was a popular song written by Irving Berlin in 1938 for the musical film, “Carefree.” It was sung by Fred Astaire and entitled “Change Partners and Dance.” The song referred to the indecision of dancer Ginger Rogers to accept a marriage proposal and she eventually ends up with Astaire. This Oscar-nominated ballad could also be used as the theme song for this bold battle of the sexes, now playing in a brilliant production on Chicago’s North Side.  

When entering the intimate Open Space Arts theatre venue, the  audience’s first impression will probably be how extraordinarily small it is. Indeed, the scenic design for this 2010 Lawrence Olivier Award-winning play consists only of a large, taped-off circular acting area, around which 20 chairs seat the theatergoers. This sparsely unadorned, completely immersive environment is perfect for both actor and patron. It’s precisely what English playwright Mike Bartlett had in mind when he wrote his play, which enjoyed a healthy run all over England and, eventually, Off-Broadway in 2012. The title references a Tijuana cockfighting ring which, as the play progresses, seems to be a suitable locale because the battle lying ahead is going to be a down-and-dirty gladiator war.

John, perfectly portrayed with an air of confusion and melancholy by handsome young Eliot Hall, has tired of his gay relationship with his controlling, demanding partner, M. This character appears in a scintillating performance by Kevin Woodrow. During their sparring, John confesses his dissatisfaction and demands that M disrobe to remind him of why he still lusts for the young man. But in this production there is no actual nudity. Instead, like all stage business, every prop and set dressing, everything is imagined in Wren Wesner’s production. Except for the explicit dialogue and gestures, all is referenced, reacted to and simply pantomimed.  

On his way to work, John notices W, an attractive, personable young woman he’s seen many times before on the Tube platform. But, in his current, vulnerable state, an attraction develops. W is beautifully played by Sonya Robinson, a strong, gifted young actress who totally holds her own among this testosterone-charged cast. Learning that John may possibly be breaking up with his gay lover, the two connect sexually. They experiment sleeping together several times which, again, is performed in subtle pantomime and fully clothed.

 Now John’s confusion and dilemma truly begins. Has he been fooling himself all these years that he’s gay? Is he really bisexual? Or, in this more enlightened age, are labels even necessary? As the cockfight ramps up, M invites W to their house for dinner  to size up his competition. He’s also invited his recently widowed, very supportive father, F. Brilliantly played by talented and experienced Michael Lomenick, a new dimension of conflict and attack emerges. Lines are drawn, the battle continues and the figurative blood begins to flow. 

Director Wren Wesner begins their one-act simply, without any pre-show music or fancy fanfare. A blackout signifies the beginning of the play, during which two men enter the ring in a burst of light. The  actors are poised to attack and the cockfight commences. For each new scene the lights dim, then blaze again, to signify another battle is beginning. It should be noted that despite this being an English play that’s liberally peppered with British terminology and slang, there’s no attempt at dialects. 

This visceral production is fast-paced, emotionally haunting, filled with anguish, and about changing partners and continuing “the dance.” Mike Bartlett’s dialogue is clearly enunciated and delivered with unbelievable rapid-fire intensity. Directed with skill and soul by Wren Wesner, it’s a must-see production about deciding to decide, or maybe not deciding at all. But be warned: this production isn’t intended for everyone. Conservative patrons, those easily-offended or the faint of heart may find the play offensive. It’s sharp, sexy without any nudity, filled with explicit and sometimes derogatory language, but surprisingly funny. It will leave audiences absolutely breathless.

Highly Recommended

Reviewed by Colin Douglas

Presented April 4-21 by Open Space Arts, 1411 W. Wilson Ave., Chicago.

Tickets are available at the door or by going to https://www.goelevent.com/OpenSpaceArts/e/COCK, or go their website, www.openspacearts.com.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.