Review: Bull, Tobacco Factory Theatres – ‘An utterly brutal, superbly acted play’

Writer Mike Bartlett was inspired to write this visceral piece of theatre while watching a bullfight in Mexico, and the bull in the title not only refers to how animal is symbolically sacrificed but to workplace bullying.

In this Mesh Theatre Company production, we participate in a gory spectacle that is both disturbing and strangely entertaining. Bartlett himself has asked why we enjoy cruelty, and the symbolism of the boxing ring goes some way to explain this.

As the audience file into the auditorium, Isobel (Rebecca Blackstone) is sitting on a chair busily texting while staring daggers at her nervous-looking colleague Thomas (Rob Ostlere), who is slouched in a seat opposite her. No words are spoken, until Isobel starts trying to undermine him. This continues and occasionally ratchets up when team leader Tony (Rilwan Abiola Owokoniran) joins them. And it is relentless.

The three employees are gathering to meet their boss, who has indicated that one of them is going to lose their job.

Rilwan Abiola Owokoniran as Tony and Rebecca Blackstone as Isobel in Bull, Little Mesh Theatre – photo: Alex Marker Design

The scenario is recognisable to those familiar with The Apprentice, as the rivals attempt to justify why they should be kept on. Once they enter the boxing ring-sized set, they stay there. However, rather than the contestants attempting to duck and weave and land a knockout blow, Isobel and Tony resort to a concerted attack on Thomas’s credibility and self-worth. It starts with a dig at the suit he is wearing. “Why didn’t you wear your best one?” they each snidely suggest.

Designer Alex Marker has done a marvellous job not just with the functional office set but in choosing the clothing. Isobel is dressed in an ox blood dress blouse and trouser suit that conveys style but not substance, while Tony is slim and shiny. Poor Thomas’ mark on his grey lapels says more than 50 pages of dialogue could.

Rob Ostlere as Thomas – photo: Alex Marker Design

It is a nasty example piece of brutal theatre as can be, and Director Sally Woodcock pushes the mental cruelty to an extreme. The clever writing reveals Isobel as the most vicious of the three, content to back up Tony at times but also equally adroit in laying metaphorical punches on him when required. This is a UK Glengarry Glen Ross, a place where anything goes as long as the individual survives.

Owokoniran’s Tony is a privileged, preening, over-cocky, conniving bully. But do not let that deflect you; he is just as dangerous as Blackstone’s Isobel.

Tim Frances as Carter, the boss, joins the ensemble – photo: Alex Marker Design

Ostlere’s Thomas, on the other hand, all the while struggles to contain his inner torment while fronting up to his external tormentors. The poignancy of the piece is expertly illustrated when he physically shrinks and twists into a malformed body as each of the dastardly duo’s barbs sink into him.

When they are joined by the boss, Carter (Tim Frances) the viciousness goes up a gear and the gloves really come off. It is clear that there can only be one victim here. At the finale, the true primeval malice rears up. The victors are not merely satisfied with the result, they want to see capitulation.

Bull is a superbly acted piece, but difficult to watch. And that is entirely as intended.

For upcoming productions from the company, visit www.meshtheatre.com or follow @meshtheatreco.

Main photo: Mesh Theatre Company

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