Overview

Right, you know the rules, watch the low blows, if it's a knock-down no messing about, go straight to your corner, and don't come out till called for, are we clear? Touch gloves, let's go.

In the red corner: Leon Davidson - Black British champ or Uncle Tom? In the blue corner: Troy Augustus - American powerhouse or naive cash cow? Having spent their youth in the same London boxing gym, vying for the favouritism of inspirational, foul-mouthed ...
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Sucker Punch

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Overview

Right, you know the rules, watch the low blows, if it's a knock-down no messing about, go straight to your corner, and don't come out till called for, are we clear? Touch gloves, let's go.

In the red corner: Leon Davidson - Black British champ or Uncle Tom? In the blue corner: Troy Augustus - American powerhouse or naive cash cow? Having spent their youth in the same London boxing gym, vying for the favouritism of inspirational, foul-mouthed trainer Charlie Maggs, the two former friends step into the ring and face up to who they are. Boxing has dominated their lives with an unhoped-for structure and meaning, but it becomes clear that it is no substitute for their health, family, and friends.

Roy Williams' Sucker Punch looks back on what it was like to be young and black in the 1980s and asks if the right battles have been fought, let alone won.

With an introduction by Harry Derbyshire, Lecturer in English and Drama at the University of Greenwich.
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Editorial Reviews

From the Publisher
"Roy Williams, for my money [is] the undisputed heavyweight champion of black British dramatists."—Daily Telegraph
 
"Williams skillfully uses the ring to create a fable about race and money. He shows how Leon and Troy enjoy the illusion of autonomy but are ultimately at the mercy of promoters, for whom they are just meal tickets."—The Guardian
 

"As usual with Williams, the dialogue is crisp and bespoke: motives are mixed, nobody is a hero, nothing is just black and white."—The Times (of London)
 

"Williams revisits themes familiar from his previous work: the brittleness of male friendships, the meaning of defeat, the travails of black working-class experience as well as its pleasures."—Evening Standard
 
"Williams's ear for dialogue is astonishing. The hardcore chatter shuttles back and forth with casual racism, humorous insults, Eighties slang and Jamaican patois."—Daily Express
 
 
 

Daily Telegraph

Roy Williams, for my money [is] the undisputed heavyweight champion of black British dramatists.
The Guardian

Williams skillfully uses the ring to create a fable about race and money. He shows how Leon and Troy enjoy the illusion of autonomy but are ultimately at the mercy of promoters, for whom they are just meal tickets.
The Times (of London)

As usual with Williams, the dialogue is crisp and bespoke: motives are mixed, nobody is a hero, nothing is just black and white.
Evening Standard

Williams revisits themes familiar from his previous work: the brittleness of male friendships, the meaning of defeat, the travails of black working-class experience as well as its pleasures.
Daily Express

Williams's ear for dialogue is astonishing. The hardcore chatter shuttles back and forth with casual racism, humorous insults, Eighties slang and Jamaican patois.
Read More Show Less

Product Details

  • ISBN-13: 9781408132579
  • Publisher: Bloomsbury USA
  • Publication date: 6/11/2010
  • Series: Modern Plays
  • Sold by: Barnes & Noble
  • Format: eBook
  • Edition number: 1
  • Pages: 112
  • File size: 246 KB

Meet the Author

Roy Williams, OBE, worked as an actor before turning to writing full-time in 1990. He graduated from Rose Bruford in 1995 with a first class BA Hons degree in Writing and participated in the 1997 Carlton Television screenwriter's course. His plays include The No Boys Cricket Club (Theatre Royal, Stratford East, 1996); Starstruck (Tricycle Theatre, London, 1998); Lift Off (Royal Court Theatre Upstairs, 1999); Night and Day (Theatre Venture, 1996); Josie's Boys (Red Ladder Theatre Co., 1996); Souls (Theatre Centre, 1999); Local Boy (Hampstead Theatre, 2000); The Gift (Birmingham Rep/Tricycle Theatre, 2000); Clubland (Royal Court, 2001); Fallout (Royal Court Theatre, 2003); Sing Yer Heart Out for the Lads (National Theatre, 2002, 2004); Little Sweet Thing (New Wolsey, Ipswich/ Nottingham Playhouse/Birmingham Rep, 2005), Slow Time (National Theatre Education Department tour, 2005), Days of Significance (Swan Theatre, Stratfordupon- Avon, 2007), Absolute Beginners (Lyric Theatre, Hammersmith, 2007), Joe Guy (Tiata Fahodzi/Soho Theatre, 2007), Baby Girl (National Theatre, 2007), Out of the Fog (Almeida Theatre, 2007), There's Only One Wayne Matthews (Polka Theatre, 2007), Category B (Tricycle Theatre, 2009) and Sucker Punch (Royal Court, 2010). He also contributed A Chain Play (Almeida Theatre, 2007), Sixty Six (Bush Theatre, 2011), Advice for the Young at Heart (UK tour, 2013) and Kingston 14 (Theatre Royal Stratford East, 2014). He was awarded the OBE for Services to Drama in the 2008 Birthday Honours List.

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