PlayMakers Repertory Company's "The Royale" Takes Viewers on a Riveting Journey

Zack Bazile, Galen Ryan Kane, and Ray Anthony Thomas star in The Royale. Photo by HuthPhoto, courtesy of PlayMakers Repertory Company.

Jack Johnson was a prolific boxer with a legendary career. In 1908, he was the first African American to win the World Heavyweight Championship, a title he would hold for seven years. Despite his success in the ring, he was often dealt heavy blows of racism. Playwright Marco Ramirez explores Johnson’s life and difficulties, in a roundabout sort of way, in his play The Royale, onstage now at PlayMakers Repertory Company under the captivating direction of Vivienne Benesch.

The riveting play centers on a Johnson-like character, Jay “The Sport” Jackson (Galen Ryan Kane), who, like Johnson, aspires to become the World Heavyweight Champion. Jay’s story is set in the 1900s, and he, just like his real-life counterpart, is up against some heavy obstacles, including a white opponent who doesn’t want to go up against him, solely because of his race, and who makes outrageous demands to agree to fight.

The writing is tense and rhythmic, and the on-stage movement reflects it. Benesch and movement director Christopher Windom have the characters sparring both with words and fists. They are light on their toes, punching the air, and moving with purpose at almost every moment. The only time the movement ceases is when a character needs to pack a punch with a shattering story. Then, the air stills, and every viewer leans in to catch the weight of each word. The effect is a sort of trance-like viewing experience, one that feels tense and lulling at the same time, creating something truly unique and undoubtedly powerful.

Kane simmers with intensity and purpose in his role as the burden-laden but persistent Jay, while Ray Anthony Thomas bristles with a quieter but still intense energy in his portrayal of Jay’s devoted trainer, Wynton. Their chemistry feels authentic and is tinged with the feeling of two practically inseparable people with many unspoken words and emotions buzzing between them.

Jay shares a similarly fraught relationship with his sister Nina, beautifully acted by Tia James. It is she who helps both the viewer and Jay understand the impact of his choices, both for himself and for the world as a whole. James plays the role with tenderness, hurt, and unflinching honesty. This powerhouse cast is rounded out by an earnest, endearing Zack Bazile in the role of Fish, Jay’s sparring partner, and Matthew Donahue’s grinning portrayal of the overworked, put-upon Max, Jay’s harried-but-hopeful manager. 

Their stories play out on Yi-Hsuan (Ant) Ma’s realistic boxing ring set. Muted colors and careful, sometimes-intense lighting effects (Tao Wang) create an old-timey feel and firmly cement viewers in the world and time of these characters. Sabrina Guillaume-Bradshaw’s costumes, particularly where Nina is concerned, also do their part in bringing to life a very different time and place. Although, as Ramirez’s thoughtful, multi-layered writing reminds us, it’s not a world that’s as far removed from today as it should be.

The smart script sparks reflection about racial inequality and its lingering impacts. This may seem, on the surface, like a play about boxing, but it’s actually about so much more, and its depth is perhaps its most winning strength. Important and unforgettable, The Royale is the kind of play that pushes limits, and this bold, brave, and experimental production perfectly mirrors its intent. 

-Susie Potter