Golden Boy: a classic boxing drama

PAUL DONOVAN applauds a towering revival of a 1930s boxing drama, written by the US communist Cliff Odets

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JOSH O’CONNOR puts in a towering performance as Joe Bonaparte in this latest revival of the 1937 play about the American dream.

Written by Cliff Odets during the depression years, the play focuses on a character torn between his passion and talent for the violin and prize fighting.

His father, Mr Bonaparte (Stanley Townsend) wants his son to pursue music but once Joe gets caught up with boxing manager Tom Moody (Daniel Mays) he sees a way to attain wealth and fame. Joe rejects the violin getting more focused and violent in the ring.

All, of course, ends in tragedy but there are fascinating twists and turns along the way. The torn character of Lorna Moon (Hayley Squires), girlfriend of Moody but in love with Joe. Mr Bonaparte is heartbroken at his son’s rejection of the violin but never gives up on him, and neither does his brother, union activist, Frank (Richard Fleeshman).

Boxing is never an easy sport to depict in a dramatic context, and this Almeida production is no exception. Fight scenes centre around a large punch bag centre stage, with videos screened on the back walls. It’s never totally convincing.

Bonaparte’s opponents trot on and off. That said O’Connor does a great job of bringing out the physicality of the fight scene. He wrestles with the punch bag — the ongoing physical damage on his body reminiscent of Robert De Niro as Jake LaMotta in the film Raging Bull.

The young Joe is played by Oscar Prout, who appears, almost ghost-like, in many scenes.

The often sleazy fight scene is well depicted with a lot of high octane masculinity on show, from managers and fighters to gangsters. The character of gangster Eddie Fuseli is well played by Zubin Carla — a role that could easily have tipped over into farce.

The slightly cramped set is well used, moving between house, manager’s office and fights. The trademark crucifix of the Italian family on the wall.

The music ensemble are situated at the back of the stage — in what at times can appear like a cupboard. This is opened and shut by different characters. The effect being to help illustrate the passing nature of music in Joe’s life. Symbolically, at one point, young Joe gets chased up into the musicians section.

There are a number of excellent performances, such as Mays as Moody, Squires as Moon but it is O’Connor as Joe, who holds it all together with a strong physical and emotional performance. The play is well directed by Sam Yates, ensuring plot lines are clear amid what could become confusing in the space.

The return of Golden Boy to the stage is timely, with the world today increasingly coming to resemble much of what occurred in the 1930s. Odets himself was torn between his passion for social justice and material well being. Briefly, a communist, he supported many left-wing causes. Odets’s reputation, though, suffered, after his 1952 appearance at Senator Joseph McCarthy’s House Committee on Un-American activities.

This Sam Yates version of Golden Boy is most welcome at this time of tumult in an uncertain world. It also underlines the futility of the American dream.

Runs until October 31. Box Office: 020 7359 4404, almeida.co.uk