The Royale – Milton Court Theatre, London

Writer: Marco Ramirez

Director: Ameera Conrad

Based on the life of boxer Jack Johnson, the Royale is an intense vignette of racial struggle at the
turn of the twentieth century, exploring the dichotomic truths of being front and centre for societal
change, and the inevitable adversaries of progress, violently tugging in the other direction.

Jay Jackson (Shaka Kalokoh) is a champion fighter, drawing crowds by the thousands every night, and
winning time and again. But it doesn’t quite feel like victory and it never will, that is until he can be
the first black man to fight for the world championship. But what of the consequences should he
win; the violence that will no doubt ensue because a black man has dared to challenge and defeat a
white man?

The staging (Louie Whitemore), consisting of one main boxing square and two smaller squares in
opposite corners, keeps Jackson and his opponents separate for the most part. This isn’t really a
story about boxing, so instead of focusing around any killer fight choreography, we’re listening to
Jackson’s inner monologue (or dialogue, as it happens) as he jabs and hooks the air on the main
stage, and his opponents occupy one of the smaller platforms.

Kalokoh does well to embody both Jackson’s impossible boxer ego, and his truer and quieter self,
fearful for his safety and the safety of his family. He and Cory Hippolyte, who plays his trainer and
friend, have a genuine chemistry that feels honest and layered. Emanuel Vuso as Fish, Jackson’s
sparring partner, is sweet in his boyishly aggressive front, and eagerness to be accepted.

Brandon Bassir, playing Jackson’s manager, is the only white man on stage and, whilst invariably
alluding, by his mere presence, to the racial imbalance of power in the outside world, he is always
outnumbered on stage. This is an interesting move on writer Marco Ramirez’s part, keeping the
outside world outside; ironically the ring is a safe place for Jackson. Perhaps owing to the fact that
he has the least to lose in this story, Bassir is almost the comic relief, particularly excelling as boxing
commentator.

There’s no off-stage, and instead those characters not involved in a scene adorn the edges of the
ring on wheeled stools, circling Jackson like ominous opponents, clapping a beat and laughing, “Ha!
Ha! Ha!”, in unison, adding to an already present sense of nightmarish unreality.

Jackson’s sister Nina (Anele Mahamba) appears very late in the script, but owing to the lack of an
off-stage, her silent presence is noted throughout. When she finally does burst on scene, she is an
impressive force, expressing both a paper-thin vulnerability and a daunting strength. In a way, it’s a
shame her character isn’t a little more developed, if only to give Mahamba more time to shine.

Running at less than ninety minutes, there isn’t really time for this story to present many answers.
But it does pose some important questions about progress, loyalty, and ambition. A pacy and
exciting watch, with plenty to mull over on the way home.

Runs until 13 February 2020