Roy Williams' new play lives up to it's stunning design.
The unexpected star of Sucker Punch at Royal Court Theatre is Miriam Buether, the set designer. With a history of stunning transformations under her belt, this time she's created a cinematic experience for the audience of Roy Williams' new play.
Walking theatregoers to their seats through narrow corridors of a basic '80s gym, walls lined with black and white newspaper clippings of boxers done good, she's placed the audience above a boxing ring looking in on the action. Thankfully, Williams' play about two black boxers struggling with their identity and their dreams lives up to Buether's bold design statement.
Leon and Troy encounter Thatcherite trainer Charlie when they break into his gym. Leon tows the line, and keeps his mouth shut while Charlie trains him to win titles. Troy on the other hand refuses to apologise for his big mouth and wants to win on his own terms.
Sucker Punch runs for an hour and a half, which seems too short given the potential for depth in this story. Williams wants to ask if the right battles were fought but doesn't make enough of the sacrifices Leon and Troy suffer. Leon gives up his relationship with Charlie's daughter to make it big but their romance isn't developed enough for us to really care. Troy escapes to The States leaving behind his family and friends to no doubt struggle before he gets to the top but his rise to fame is barely discussed. Having said that, their encounter in the ring is gripping: no discussion needed, it's a feat of acting, choreography sound and design.
Punctuated with monologues by Daniel Kaluuya's Leon, the dialogue Williams places in Charlie's gym highlights the position of black men as pawns in a white-run sport. Without the tension you might expect, he brings to light the casual delivery and reception of racism at the time and makes us wonder how much we've moved on.
Sucker Punch runs at Royal Court Theatre until July 24th.
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