Writer: Roy Williams
Prior to Reality TV sport and pop music were ways in which talented people from a working-class background without formal qualifications might escape their humble origins. Roy Williams’s Sucker Punch, however, suggests in some cases they do not advance very far and may enrich others than themselves.
Best friends Leon and Troy (respectively Shem Hamilton and Christian Alifoe) are black and, having tried and failed to burgle a run-down gym owned by white trainer Charlie (Liam Smith), end up as unwilling cleaners as an alternative to being turned over to the police. Charlie realises; however, the duo could be potential boxers and offers training in the sport. Charlie’s motives are not altruistic; a devoted Thatcherite he seeks a protégé who will remain loyal and make his fortune.
Troy finds it difficult to stick to Charlie’s rules, moving to America he gains a fearsome boxing reputation but turns his back on his cultural origins, adopting an American accent. Leon remains loyal to Charlie but does not appreciate he is being exploited financially and manipulated psychologically by his trainer. Charlie does not approve, and takes steps to end, the inter-racial affair between his daughter Becky (Poppy Winter) and Leon. As tensions rise the inevitable occurs and the former friends are booked to fight each other.
Director Nathan Powell is determined to remove any glamour from the sport of boxing. There is a grimy authenticity to Sandra Falase’s set. A massive boxing ring fills the entire stage, but the surrounding walls are shabby bare brick. Fights at the Olympic Games are represented by a cheap and cheerful set of flags being dragged half-heartedly across the ring.
Leon and Troy represent alternative responses to racial injustice and exploitation. Christian Alifoe’s intense performance brings an underlying edge of physical violence to Troy. Sullen and quick to anger he takes racial injustice personally and responds with ferocity. Shem Hamilton’s Leon on the other hand is entirely conciliatory. He is so eager to fit in he is willing to sacrifice his own cultural identity and comply with Charlie’s demands. Even at his most arrogant Leon needs affirmation from others, effectively stalking Becky after the end of their relationship. Yet the grim message of Sucker Punch is that the fight is fixed, and Leon and Troy cannot win- both are forced in one way or another to compromise and assimilate into existing systems rather than secure positive change.
Despite a particularly gruelling showdown in the ring there is an odd lack of tension in the play. Although one scene takes place in the gym while a race riot is going on outside the characters do not seem particularly worried or frightened. It is as if the gym is an enclosed space, and the outside world does not intrude.
There is a great deal squeezed into Roy Williams’s script- cultural identity, casual racism, loyalty, betrayal, responses to injustice- and at times the volume seems to overwhelm the play. It is set in the 1980’s when Thatcherite policies had a devastating impact upon black communities, but this is reported verbally rather than shown. Political points are best made by example rather than verbally. Charlie does not realise the decision of the fighters he has trained to abandon him the moment they get a better offer is a perfect example of the dog-eat-dog market forces of the Conservative Government he supports.
It is an excellent cast down to the secondary characters. Wayne Rollins as Leon’s odious wide-boy father and Ray Strasser-King as Troy’s loudmouth terrifyingly manipulative manager make strong impressions. The evening is, however, dominated by Shem Hamilton who not only shows Leon’s loss of innocence and desperate need to please he serves as a narrator pushing forward the story of the rise and inevitable fall of a fighter.
Sucker Punch might not land a knockout blow but is a very strong contender.
Runs until 6th May 2023
