Written in 1937, Golden Boy is probably Clifford Odets’ most famous work. The story of a young man torn between becoming a violinist or a boxer is a critique of the corrupting influence of the materialism that underpins the American Dream. The theme echoes F. Scott Fitzgerald’s The Great Gatsby, right down to the famous scene in which Gatsby contemplates his beautiful shirts. Young Joe Bonaparte is similarly seduced by a world that values appearances over substance when the gangster Eddie Fuseli showers him with silk shirts and other trappings of success. In forsaking his calling as a musician for the fame and money of boxing, Joe ultimately sacrifices not only his family ties but also his sense of self. The performances are uniformly strong. Josh O’Connor gives Joe an intense, increasingly volatile presence, convincingly charting his transformation from a gifted young musician into a man consumed by ambition and violence. Hayley Squires is equally compelling as the hard-nosed Lorna Moon, bringing both toughness and vulnerability to a woman caught between love, loyalty and the brutal world in which she finds herself. Daniel Mays is particularly effective as the self-serving fight promoter Tom Moody, combining charm and swagger with a calculating determination to turn Joe’s talent into profit. Stanley Townsend brings warmth and quiet dignity to Mr Bonaparte, making his faith in his son’s musical gift a poignant counterpoint to the values of the boxing world. The rest of the supporting cast is equally assured, creating a convincing ensemble of fighters, promoters and family members. Director Sam Yates generally succeeds in creating the noirish atmosphere of the piece and, apart from the introduction of Kris Kristofferson’s 1969 song “Help Me Make It Through the Night”, remains broadly faithful to its period setting. This is very much Yates’ interpretation of Odets’ play, and some of his directorial choices are more successful than others. The introduction of the musicians behind a panel reflecting the divided identities of Joe and Young Joe works brilliantly, making his abandoned musical ambitions a striking visual presence. However, having Young Joe wander through the action throughout the play feels overdone, while Joe wrapping himself in the American flag after his fight seems rather too literal a way of underlining the play’s engagement with the American Dream. Meanwhile, the decision to have the actors talk over Mr Carp’s speech on Schopenhauer sacrifices one of the play’s more interesting philosophical passages and obscures a debate that provides an important counterpoint to Joe’s choices. Despite such reservations, this is a powerful revival of a work whose central conflict remains strikingly relevant. Joe’s choice of the "freedom", wealth and recognition offered by the boxing ring over the values of family, integrity and art uncomfortably resonates in today’s social and political environment.
Rated: ★★★★
Reviewed by J.C.
Photo by Marc Brenner
When, Where, Getting there:
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