Review: Sucker Punch (Victory Gardens Theater)

By Chicagotheaterbeat @chitheaterbeat

  
  
Sucker Punch 

Written by Roy Williams
VG Biograph Theater, 2433 N. Lincoln (map)
thru Oct 18  |  tix: $15-$60  |  more info
  
Check for half-price tickets  
  

  

  

Rough and ready

  

  

Victory Gardens Theater presents

  

Sucker Punch

Review by Lauren Whalen 

Racial tension is pervasive, topical and ripe for discussion and action. And sadly, it’s a tale as old as time, though perhaps the aforementioned discussion will lead to action, which will in turn lead to change. Chicago theater isn’t shying away from the issue but embracing it: Goodman Theatre is one of many nationwide that’s making Disgraced the most-produced play of the 2015-16 season, and Victory Gardens isn’t far behind with the imperfect but nonetheless strong Sucker Punch. Set in 1980s London, Sucker Punch uses a small cast of characters to tackle the largest of topics, resulting in an effect far more lasting than sore muscles or bruised shins‘

Teenage best friends Leon (Maurice Demus) and Troy (Denzel Love) are forced to spend their afternoons cleaning the boxing gym they broke into as an ill-fated prank. They smart off to grouchy owner and coach Charlie (John Judd) in between grudgingly cleaning toilets and mopping floors – until a scrap with Charlie’s protégé Tommy (Walter Briggs) leads to the two young men training at the gym themselves. While Troy is talented but less dedicated, Leon enjoys some success on the straight and narrow, even if this means enduring casual racism from both Charlie and Tommy, and having to keep his relationship with Charlie’s daughter Becky (Taylor Blim) a secret. But when race riots explode in their neighborhood, Troy and Leon are confronted with tough decisions, and will eventually face off as the men they’ve become.

Victory Gardens’ Sucker Punch is the Midwest premiere of Roy Williams’ tight, haunting play. Protagonist Leon also serves as the narrator, outlining the passage of time and various wins and losses. The entire play is set in Charlie’s gym, and the action occurs in and out of the ring, with equal tension and violence, both actual and implied. While I would have liked the Troy character to be a bit more developed – he disappears for a large chunk of the play – Williams is a deft, physical writer, illuminating unseen matches with a clear and keen eye. Director Dexter Bullard keeps it moving, having Leon delivering monologues while jumping rope, throwing punches or performing his signature “Leon Shuffle.”

Tom Burch’s scenic design is a shining star: his vision of an early ‘80s gym that’s seen better days is so powerfully and vividly executed, I could smell sweat, feet and ambition. Production stage manager Helen Lattyak once again proves her knack for unseen magic – all of Leon’s costume changes take place onstage, as well as many important transitions, and Lattyak deftly maneuvers each cue. This boxing fable wouldn’t be complete without a boxing coach, and Ruben Gonzalez’s work with the actors is nothing short of visionary. Each punch is so intense, opening night audience members leaned forward, caught their breath, and hung on for dear life. And Tif Bullard perfectly captures the tacky aesthetic of the era, short shorts, loud patterns and all.

 

I’ve long been a fan of Judd, since 2010’s Romeo and Juliet at Chicago Shakespeare Theater, and of Briggs, since The Hypocrites’ Romeo Juliet in 2012. Both deliver performances that are satisfying, compelling and complex, and master the working-class British dialect with aplomb. Kenn E. Head brings comic relief as Leon’s hustling father Squid, and though a bit understated at times, Blim has some nice moments as Becky, who’s torn between her father’s and Leon’s love. As Troy’s manager Ray, André Teamer is appropriately charismatic and domineering. Love makes a convincing journey from disgruntled youth to focused but still scrappy fighter, and Demus is excellent at moving the piece forward – not to mention carrying long speeches while being physically active.

Sucker Punch isn’t always easy to watch: racism on display stings and cuts to the core. However, Victory Gardens’ season opener needs to be watched, talked about and digested. Williams’ play has a lasting effect, meant to promote change. See this play. Talk about it. Spread the word.

  

Rating: ★★★½

  

  

Sucker Punch continues through October 18th at Victory Gardens Biograph Theater, 2433 N. Lincoln (map), with performances Tuesdays-Saturdays at 7:30pm, with matiness Wednesdays 2pm, Saturdays and Sundays 3pm.  Tickets are $15-$60, and are available by phone (773-871-3000) or online through PrintTixUSA.com (check for half-price tickets at Goldstar.com). More information at VictoryGardens.org.  (Running time: 1 hour 40 minutes without intermission)

Photos by Michael Courier

  

artists

cast

Taylor Marie Blim (Becky), Walter Briggs (Tommy), Maurice Demus (Leon), Kenn E. Head (Squid), John Judd (Charlie), Denzel Love (Troy), André Teamer (Ray)

behind the scenes

Dexter Bullard (director), Tom Burch (scenic design), Tif Bullard (costume design), Lee Fiskness (lighting design), Christopher Kriz (sound design), Jay Tollefsen (props design), Ruben Gonzalez (boxing coach), Chuck Coyl (fight choreographer), Helen Lattyak (production stage manager), Isaac Gomez (dramaturg), Scott Miller (production manager), Tom Albright (master electrician), Mandy Stertz (wardrobe, production assistant), Michael Courier (photos)

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