Blows against the Empre: The Royale

Photo by Justin Cox

Though set in the early years of the 20^th century, Marco Ramirez’s The Royale is remarkably prescient about race and sports in America.

A lot of that has to do with our country’s stubborn, almost pathological, inability to deal with its troubled past. It’s much easier to paste over the issues with platitudes and Ram truck commercials than to actually come face to face with the collected racism of white America.

In The Royale, making its regional premiere at the Yellow Tree Theatre, Jay Jackson is a barnstorming boxing champion defeating all challengers – as long as they are black. He dreams of coming face to face with the white champion.

When that opportunity comes, it becomes more than just two men trading punches in the ring. Against a backdrop Jim Crow America, Jackson sets off a firestorm of tension. Will reaching his dream cause others to suffer?

There’s more to unpack in this topic than a year of plays, documentaries, and discussions can uncover. Ramirez instead paints with an impressionist’s brush. Clocking in at around 75 minutes, we get touches of the tension beneath the surface from the way Jackson interacts with others, from his sparring partner to his long-time coach to his manager.

Director Austene Van makes the most of these tools. The boxing becomes a ritual dance of bobbing, weaving, and punches. By the end, each virtual punch (there is no actual pugilism on stage, apart from some light sparring) packs a wallop far beyond the ring.

Several terrific performances help to bring this to life. David Murray has the look and swagger of a champion as Jackson. There is a singular determination to Jackson’s quest, and Murray plays it perfectly. As the tension increases, so does the worry in Murray’s face, but Jackson’s underlying confidence never wavers.

James Craven and Charles Fraser play a pair of mentors. Craven is electric as always as Wynton, who has guided Jackson through the rough roads of boxing. Fraser gets a thornier character, as promoter Max has Jackson’s best interest in mind. Is it genuine, or is just because Max needs Jackson to keep making money? That tension is written throughout Fraser’s performance.

By the end, The Royale leaves you exhausted and exhilarated. After all, the weight of American racism – and how it relates to sports – is felt heavily today. (Hello, President Trump!) Yet the power of Ramirez’s writing, Van’s direction, and the company’s acting make it a rewarding trip to the theater.

For more information, visit online.