Going for Gold at Park Theatre is an enthralling, richly detailed exploration of the life and career of boxer Frankie Lucas, brought to life through a balanced and nuanced production. Spanning decades of Lucas’ journey from the late 1960s to recent years, this play successfully captures both the professional highs and personal lows of a man whose story is as inspiring as it is complex.
Directed with precision and creativity, the production is a testament to the power of storytelling. Jazz Lintott delivers a commanding performance as Frankie Lucas, embodying the boxer’s fiery determination and unyielding spirit. Llewella Gideon is equally impressive as Gene, Frankie’s first love and the mother of his son Michael (played by Daniel Francis-Swaby). Gideon’s direct addresses to the audience are a highlight, offering a calm yet powerful contrast to Frankie’s volatile energy. These moments are not just breaks in the narrative but windows into the emotional core of the story, drawing the audience deeper into the dynamics of Lucas’ relationships and the pressures he faced.
One of the most commendable aspects of Going for Gold is how it avoids cliché. Boxing, as a theatrical subject, poses significant challenges, particularly when it comes to staging matches in a convincing manner. Here, the production wisely sidesteps this by employing selective, rapid-paced representations of key fights, interspersed with sparing use of archive footage. This approach not only keeps the focus on the human drama but also avoids the pitfalls of trying to recreate every bout in real time. The result is a smart, efficient narrative that captures the essence of Frankie’s career without losing the audience in a flurry of staged punches.
Ken Rimington (Cyril Blake) and George Francis (Nigel Boyle) play pivotal roles as Frankie’s mentors, striving to channel his unrelenting anger into a force for victory. Their interactions with Frankie provide some of the play’s most poignant moments, as they challenge him to prioritize not just his career but also his family. Boyle’s portrayal of George Francis, a legendary trainer in British boxing, is particularly memorable, exuding both authority and compassion. These relationships underscore one of the play’s central themes: the tension between ambition and personal responsibility.
What sets Going for Gold apart is its refusal to idealize its protagonist. Frankie Lucas is presented as a flawed, multidimensional figure, grappling with systemic injustices, personal demons, and his own temperamental nature. The play doesn’t shy away from showing the strain these challenges placed on his relationships, especially with Gene and Michael. Yet, it also celebrates his resilience and the sheer tenacity that defined his career. This unvarnished portrayal makes Frankie’s triumphs all the more meaningful and his struggles all the more relatable.
The production’s set design, though minimalist, is highly effective in evoking a range of settings, from boxing rings to domestic spaces. Combined with skillful lighting and sound, the transitions are seamless, ensuring the narrative flows smoothly through time and space. The smaller studio space at Park Theatre works in the play’s favor, fostering an intimate atmosphere that draws the audience into Frankie’s world.
At its heart, Going for Gold is a story about perseverance, identity, and the price of ambition. The script, evidently the product of thorough research, is compelling and authentic, painting a vivid picture of Frankie’s journey while addressing broader social issues. The play’s focus on Frankie’s frustrations with the lack of opportunities for black boxers adds depth, highlighting the systemic barriers he fought against both inside and outside the ring.
Ultimately, Going for Gold is a triumph of storytelling, brought to life by a talented cast and a production team that clearly understands the intricacies of its subject matter. It’s a play that not only entertains but also resonates, leaving audiences with a profound appreciation for Frankie Lucas’ legacy and the complexities of his life. Engaging, thought-provoking, and expertly crafted, this is theatre at its finest.
This review captures the essence of the production while highlighting its strengths in storytelling, performance, and thematic depth.
Thanks Lloyd! Great point about avoiding cliche. I don't think I gave enough credit for how well the director and cast sidestepped the expected visual language of a sports drama.
Hello David. Really enjoyed your review, as well as this play myself. As a keen boxing fan and half-Vincentian, who didn't know of Frankie Lucas, his life story particularly resonated with me.
I also reviewed it in November 2024 when it was at Park Theatre. Was interesting to note the play went to Barbados, of all places, (and why not?) in mid-December 2024.
Going for Gold at Park Theatre is an enthralling, richly detailed exploration of the life and career of boxer Frankie Lucas, brought to life through a balanced and nuanced production. Spanning decades of Lucas’ journey from the late 1960s to recent years, this play successfully captures both the professional highs and personal lows of a man whose story is as inspiring as it is complex.
Directed with precision and creativity, the production is a testament to the power of storytelling. Jazz Lintott delivers a commanding performance as Frankie Lucas, embodying the boxer’s fiery determination and unyielding spirit. Llewella Gideon is equally impressive as Gene, Frankie’s first love and the mother of his son Michael (played by Daniel Francis-Swaby). Gideon’s direct addresses to the audience are a highlight, offering a calm yet powerful contrast to Frankie’s volatile energy. These moments are not just breaks in the narrative but windows into the emotional core of the story, drawing the audience deeper into the dynamics of Lucas’ relationships and the pressures he faced.
One of the most commendable aspects of Going for Gold is how it avoids cliché. Boxing, as a theatrical subject, poses significant challenges, particularly when it comes to staging matches in a convincing manner. Here, the production wisely sidesteps this by employing selective, rapid-paced representations of key fights, interspersed with sparing use of archive footage. This approach not only keeps the focus on the human drama but also avoids the pitfalls of trying to recreate every bout in real time. The result is a smart, efficient narrative that captures the essence of Frankie’s career without losing the audience in a flurry of staged punches.
Ken Rimington (Cyril Blake) and George Francis (Nigel Boyle) play pivotal roles as Frankie’s mentors, striving to channel his unrelenting anger into a force for victory. Their interactions with Frankie provide some of the play’s most poignant moments, as they challenge him to prioritize not just his career but also his family. Boyle’s portrayal of George Francis, a legendary trainer in British boxing, is particularly memorable, exuding both authority and compassion. These relationships underscore one of the play’s central themes: the tension between ambition and personal responsibility.
What sets Going for Gold apart is its refusal to idealize its protagonist. Frankie Lucas is presented as a flawed, multidimensional figure, grappling with systemic injustices, personal demons, and his own temperamental nature. The play doesn’t shy away from showing the strain these challenges placed on his relationships, especially with Gene and Michael. Yet, it also celebrates his resilience and the sheer tenacity that defined his career. This unvarnished portrayal makes Frankie’s triumphs all the more meaningful and his struggles all the more relatable.
The production’s set design, though minimalist, is highly effective in evoking a range of settings, from boxing rings to domestic spaces. Combined with skillful lighting and sound, the transitions are seamless, ensuring the narrative flows smoothly through time and space. The smaller studio space at Park Theatre works in the play’s favor, fostering an intimate atmosphere that draws the audience into Frankie’s world.
At its heart, Going for Gold is a story about perseverance, identity, and the price of ambition. The script, evidently the product of thorough research, is compelling and authentic, painting a vivid picture of Frankie’s journey while addressing broader social issues. The play’s focus on Frankie’s frustrations with the lack of opportunities for black boxers adds depth, highlighting the systemic barriers he fought against both inside and outside the ring.
Ultimately, Going for Gold is a triumph of storytelling, brought to life by a talented cast and a production team that clearly understands the intricacies of its subject matter. It’s a play that not only entertains but also resonates, leaving audiences with a profound appreciation for Frankie Lucas’ legacy and the complexities of his life. Engaging, thought-provoking, and expertly crafted, this is theatre at its finest.
This review captures the essence of the production while highlighting its strengths in storytelling, performance, and thematic depth.
Lloyd Mcleish
Thanks Lloyd! Great point about avoiding cliche. I don't think I gave enough credit for how well the director and cast sidestepped the expected visual language of a sports drama.
Hello David. Really enjoyed your review, as well as this play myself. As a keen boxing fan and half-Vincentian, who didn't know of Frankie Lucas, his life story particularly resonated with me.
I also reviewed it in November 2024 when it was at Park Theatre. Was interesting to note the play went to Barbados, of all places, (and why not?) in mid-December 2024.
https://tiemotalkofthetown.wordpress.com/2024/11/27/going-for-gold-review-park-theatre/
Great to hear it's gone international, well deserved!