Impeccably flamboyant Mark T Cox graces the Glass Mask Theatre stage, located in Bestseller on Dawson Street, imitating Joey’s iconic black leather waistcoat and sparkling shirt ensemble from the first episode of the sitcom Friends. Embracing an LGBTQ+ crowd and those supporting them, Cox offers the audience a cabaret evening filled with recollections of his quiet life in the Irish countryside. The tales are personal and narrated with great detail.
Despite his bold appearance, Cox’s natural charm and soft Western-Irish accent quickly win over the audience. A native of County Clare, Cox’s art is largely influenced by East London’s noticeable gay cabaret culture. Following a successful 26-show tour of Paddy Daddy at the Edinburgh Festival Fringe, Cox is elated to be back home – even with his mother threatening to a attend.
Cox gives a compelling performance with the help of a keyboard, a reverb pedal, and a touch of lilt, as he covers songs by Spice Girls, The Corrs, Jennifer Lopez, and other tunes penned by straight women, songs which have gradually become anthems for the gay community. In between these musical performances, semi-autobiographical humour keeps the audience roaring with laughter. His humour is a reminder of Bo Burnham, if the punchline involved an extramarital affair with a married gentleman.
Cox, much like the best comedians, displays a bit of truth in his act. His narratives of ancient loves and local men who are yet to come out of the closet uncover common distress. Despite the mockery of occasionally homophobic attitudes faced by gay men in the rural Irish parts, he manages to turn it into laughter. A unique ballad from Cox tugs at the heartstrings, compelling a viewer to secretly wipe tears while forcing a smile alongside his fellow spectators.
Additionally, it mentions well-received shows such as Paddy Daddy, a captivating camp cabaret highlighting Mark T Cox’s rural Irish romantic adventures, and It Was Paradise, Unfortunately, a remarkably inventive exploration of the theatre as a medium for trans art. Lastly, a gravely comic review of Malignant Humour expresses how a solo comedy act based on an unfunny subject like cancer can be unexpectedly hilarious.
Cox beguiles us, playfully hinting with suggestive remarks, clearly comfortable in the role of entertainer amongst his contemporaries. He effortlessly manoeuvres the narrative, subtly exposing his vulnerabilities. Earning the audience’s trust to address harsh realities in the way Cox does, ensures they’ll know he’s there to lift their spirits.
Despite certain aspects of his performance needing further operational enhancements, witnessing such an adept performer is a joy. Cox may jest about reaching superstardom, but his rapid-fire wit and genuine sincerity suggest he’s already attained it.
His performance continues at the Glass Mask Theatre, a component of the Dublin Fringe Festival, through to Sunday, September 15th.