On The Ropes – Park Theatre, London

A review of On The Ropes, a dramatised true story co-written by former boxer Vernon Vanriel. Over twelve rounds in the ring we chart heady highs, personal lows, and a case study in the inhumanity of the ‘hostile environment’.

Vernon ‘The Entertainer’ Vanriel

You may have seen renewed press coverage this week of Vernon Vanriel’s story, including this piece in the Guardian. It’s somewhat ironic that someone made almost invisible by the British government for so long is commanding headlines once more. But Vanriel’s story is a remarkable one which must be told. New play On The Ropes at North London’s Park Theatre does just that.

Vernon Joshua Vanriel was born in Jamaica. As a young child, in 1962, he came to the UK on his mother’s passport, standard practice at the time and with no need for any visas or additional paperwork. After training as an electrician Vanriel, a talented boxer, turned professional in his sport. A born showman with a love of music and movement, he engaged crowds and excelled in the ring, reaching the No. 2 spot in Britain.

It was about this time that things started to come apart. Asked for his opinion of boxing in Britain, Vanriel spoke out about the exploitation he saw: middle class promoters and audiences using working class men for profit and entertainment, an untouchable ‘white cartel’ at the centre of it all. Blocked from further progression (he never got a chance to fight for the No. 1 spot), Vanriel struggled with mental illness, family breakdown and addiction. In 2005 he made a fateful decision to take a break for a while in Jamaica to visit his new son and former partner.

Two years later the final pieces came crashing down. Although the ‘hostile environment’ policy was only made official some years later, the Windrush generation were already becoming entangled in rules and red tape intended to discourage illegal immigration, but with the unintended consequence of stripping tens of thousands of their rights to residency and citizenship. The Windrush Scandal. For Vanriel this meant more than a decade of homelessness and struggle, blocked from returning to the UK yet unable to access support in Jamaica. It was only in 2018, with help from his MP David Lammy and the Guardian’s Amelia Gentleman, that his story gained traction and Vanriel was able to return home. Not quite a happy ending, however, as he had to go to the High Court to finally gain the citizenship that was his right.

On The Ropes

A remarkable story, and a remarkable strength of character to overcome struggles which would crush most of us under their weight. A story which not just deserves to be told, but which must be told. If you needed further evidence, On The Ropes opens in the same week that Dame Floella Benjamin has written to PM Rishi Sunak to address rumours that the Government intend to renege on promises made in the wake of the Windrush Scandal. So many still wait for justice. The Home Office’s actions cast a long shadow.

In telling his story, Vanriel has collaborated with award-winning writer Dougie Blaxland. On The Ropes sets out the story of Vernon Vanriel’s life, no holds barred, over twelve rounds. It weaves music and generosity of spirit into a sometimes harrowing story. We chart Vanriel’s life from school days, to appearing at the Royal Albert Hall, to the subsequent lows we have discussed. Mensah Bediako plays Vanriel, with Amber James and Ashley D. Gayle as an ever-present chorus. On The Ropes has a lyrical, assonance-rich poetry to it. Music has always been important to Vanriel, and the soundtrack to his life is woven into frequent musical interludes. All three actors have strong singing voices. Amber James is the standout here while Mensah Bediako’s voice is understated and soothing.

The collaboration between Vanriel and Blaxland appears to have been a fruitful one. They tackle difficult subjects frankly, without sentimentality. This makes it all the more impactful, as I could see on the faces of my fellow audience members. The staging of the play, in the round around a boxing ring, makes it a shared experience. As Zahra Mansouri’s boxing ring set fragments and turns, metaphorically excluding Vanriel as the Home Office did in actuality, you catch the odd glance or expression across the way. The catharsis of the final song, with images of the real Vernon projected on either side of the stage, is communal.

Theatre As Memory

Sometimes on the blog I question whether something needs to be a play. Not every story lends itself to this medium. Those that do are typically the ones that really connect with the audience, that have a strong emotional core. This is when theatre comes into its own. Reading stories of the Windrush Scandal in a newspaper is impactful. It might make you sad, or angry, or something along those lines.

But watching a story play out across a couple of hours on stage is something different. You’re invested. It connects much deeper. Plays like this are therefore an important part of preserving the Windrush story. Vanriel also talks about how the writing process has helped him to heal, to restore his sense of self-worth. Given the current environment is rather hostile to the arts and arts education as well, we would do well to remember these positive personal and collective benefits.

That is not to say that there is nothing I would change about the play. At almost three hours on press night it runs a little long and could perhaps stand a cut or two. The structure, knowing how many more rounds out of 12 you have to go, compounds this. Park Theatre Artistic Director Jez Bond also noted the ongoing difficulties of getting productions on stage in the pandemic context. The cast have overcome illness and the tribulations of Zoom rehearsals to get to this point. This was likely behind a few issues with lines, but in the grand scheme of things the effect was minimal.

In summary, On The Ropes is a good way to kick off the year in theatre. It’s important that we share stories like this one. And important to support new theatre. Is it another knock-out from the Park Theatre? Come see for yourself.

Salterton Arts Review’s rating: 3/5

On The Ropes on until 4 February 2023