The Royal Court auditorium has been
remade by designer Miriam Buether into a boxing gym-
cum-arena. Most of us sit above the
action, peering down as Leon Davidson makes his journey from schoolboy
burglar to world title contender. For the climactic bout, in which Leon
meets his old mate Troy, now living in America, overhead signage is
flown in and the lights intensify so that we see ourselves multiply
reflected in the mirrored side walls as a real boxing crowd. To
heighten the experience, director Sacha Wares has stylised the other
fight sequences so that this is in fact the first time we see two men
in direct physical engagement with each other. The rest, like much of
the sport itself, is psychological.
In fact, Leon’s main opponent throughout the 95-minute piece is
psychological: racism. The gym’s first hot-shot fighter Tommy is full
of contempt for the black kids, even using the loathsome “monkey”
analogy. Trainer Chas would rather throw away his last hope of economic
survival than allow Leon to go out with his daughter Becky, and Troy’s
pre-match sledging of Leon in the press calls him an Uncle Tom. Much is
made of the use of the term “boy”, as it shades from trainer/manager’s
paternal usage into that of a slavemaster. Wares’ production is tight
and agile. As Leon, the talented actor/writer/musician Daniel Kaluuya
is engaging; Nigel Lindsay is perfect casting as the ever-pressured
Chas, and Trevor Laird has the right kind of appeal as Leon’s defiantly
feckless father.
Roy Williams is of course an expert at writing about racism in sport:
he has dealt with it among fans in his breakthrough play
Sing Yer Heart Out For The Lads and
among football players in
There’s
Only One Wayne Matthews! and
Joe
Guy, the latter of which also contained, like this, the plot
strand of a sporting success sacrificing his personal life for the
trappings of fame. This is where my reservations lie: apart from the
subject of boxing, I cannot rid myself of the feeling that Williams has
done all this before, even the 1980s setting (although he gets points
for correctly associating the moonwalk with Jeffrey Daniel of Shalamar
before Michael Jackson appropriated it). Williams is smart and
eloquent, and he has more to say than this.
Written for the Financial
Times.