Bull
Many of us know what it feels like to fight to keep one’s job in today’s economy. But tough-talking British playwright Mike Bartlett — last represented on these shores by the provocative Cock — tackles this topical subject with unusual brutality in his 55-minute play Bull, now being given an exemplary production as part of the Brits Off Broadway Festival at 59E59 Theaters.
While the three are actually corporate teammates, we soon learn that one of their jobs will be eliminated by head honcho, Carter (Neil Stuke). And the self-confident, highly manipulative Tony and icy Isobel know exactly how to hit the weaker-willed Thomas both above the belt — focusing immediately on a smudge on his face and the cut of his suit (which is exactly the same as Tony’s) — as well as below it. And as they wait for Carter to arrive, the gamesmanship escalates. Is Isobel lying about being sexually abused to throw Thomas off guard? Did Thomas screw up by not bringing his sales figures? And what does it really matter whether Thomas is willing to put his face against Tony’s well-sculpted bare torso?
If much of this behavior seems like little more than schoolyard bullying, that’s probably Bartlett’s point. It’s easy to see Isobel as the ultimate mean girl or Tony as the popular ringleader, neither of whom has ever grown beyond their early childhood roles. And while Thomas is physically their equal — despite some comments to the contrary — he has obviously been socialized to accept his status as a loser. However, the consequences of not fighting back prove to be far more serious at his age than a black eye or a bruised ego.
Whether you’re standing just outside the ring or are nestled safely above it, by the end of Bull you may feel like you’ve been sucker-punched in the gut.