Sucker Punch – Queen’s Theatre Hornchurch
Sucker Punch is an insightful portrait of 1980s Britain, the world of boxing, and the barriers faced by young Black men in both.
Sucker Punch
Boxing. It’s one of those things. The prowess, the energy, the passion. It can bear the weight of stories greater than the fights themselves. It’s not so long ago I was reviewing On The Ropes at the Park Theatre, the true story of Black British boxer Vernon Vanriel, chewed up and spat out by bureaucratic indifference as part of the Windrush Generation but with an amazing instinct to survive and overcome. Today’s review is of Sucker Punch, the tale of a young boxer like Vanriel. Of a similar generation, both find fame and fortune, however brief, through their natural talent for boxing. Both face racism of the casual and systemic kinds, inside and outside the sport. Both put their trust in others and are cruelly disappointed. The specifics differ but the feeling of being mis-sold a dream of escape which is actually a trap is common to the two stories.
Unlike On The Ropes, the action in Sucker Punch is not as stylised and is told in a more traditional theatrical style. This is the story of Leon Davidson (Shem Hamilton). With his friend Troy (Christian Alifoe), he is caught breaking into one of those London gyms of the type you still see, for example, around my old haunt of Shadwell. Gym owner Charlie (Liam Smith) puts the boys to work rather than call the police, and soon spots a bit of boxing talent, particularly in Leon. Charlie’s waiting on one of his boys to win a title and turn the gym’s fortunes around. Only the boys who do turn professional don’t always turn out to be loyal. Charlie also has a daughter, Becky (Poppy Winter), who catches Leon’s eye. Worlds collide both personally and professionally.
A Portrait Of 1980s Britain
Sucker Punch is an evocative portrait of 1980s Britain. Margaret Thatcher is taking on anyone and everyone, tensions are simmering, and for young Black men like Leon and Troy it can all be a bit much. Their parents may not have but they grew up here. Yet all around them are signs that they are ‘other’, that they’re not welcome. Are the crowd cheering them on, or is it a legitimised way to revel in violence towards Black bodies? The historic setting of Sucker Punch risks positing these challenges as a thing of the past, but the Black Lives Matter movement (or exhibitions like War Inna Babylon) remind us they’re not.
The performances amongst the lean cast are uniformly excellent. Shem Hamilton portrays Leon subtly, as he deals with his feckless father, his complicated relationship with Charlie, and his easy come, easy go brush with fame and fortune. Christian Alifoe as Troy is less passive, less buffeted by the winds of fate than Leon. His performance burns with righteous frustration, at his treatment by his trainers, the police, but also his friend. Liam Smith is completely believable as gym owner Charlie, unable to look beyond skin colour to see his one big chance, his loyal boxer, is finally here. And the smaller parts: daughter/girlfriend Becky, Leon’s father Squid (Wayne Rollins), boxer Tommy (John Rogers) and American promoter Ray (Ray Strasser-King) between them flesh out a believable world in which the story operates.
Queen’s Theatre Hornchurch
The creative team for Sucker Punch likewise do an excellent job. Sandra Falase’s set is versatile, moving from London boxing gym to the Olympics to professional ring. The lighting by Joshie Harriette is excellent and helps to evoke these different settings without being intrusive. The credits also highlight the production’s serious approach to the world of boxing. Movement Director Asha Jennings-Grant, Fight Director Enric Ortuño and Boxing Coach Gary Cooke each have their role. I’m no expert but to me the boxing scenes are credible throughout. The odd slow motion scene as Troy, Leon or Tommy ‘lands’ a big punch helps to maintain the illusion without putting the actors at risk. It’s an energetic and compelling evening.
Sucker Punch debuted in 2010 at the Royal Court, and won the Alfred Fagon Award. This production is at the Queen’s Theatre in Hornchurch. It was likely to take a special kind of play to tempt me so far outside my normal theatrical haunts, but I was very pleasantly surprised by the Queen’s Theatre. It’s a place with history, but the current building is modern and functional, with a bar and cafe open during performances. The team here work in partnership with other theatres to bring top quality work to undeserved communities, and this particular example goes on tour after its run in Hornchurch. I perused the What’s On guide during the interval and can confirm there’s plenty coming up to make it worth a trip. It’s a real community asset and a quality theatre. See for yourself here.
Salterton Arts Review’s rating: 4/5
Sucker Punch on until 15 April at Queen’s Theatre Hornchurch and then on tour