Playwright Clifford Odets championed the underprivileged. He even joined the Communist party for eight months in 1935, eventually to be investigated by Joseph McCarthy. Golden Boy, currently at Lamplighters under the direction of E. Duane Weekly, was his most famous play. It led to a screenwriting career in Hollywood, which didn't hinder him writing for the stage. He went on to become an artist and an art collector.
The production opens with a radio announcer setting the scene. Golden Boy then follows Joe Bonaparte (Gregg Strouse) from the beginning of his short fight career to the end. Managed by a tough, almost washed-up manager, Tom Moody (Timothy Carr), he sheds his past like so much dirty laundry. That past includes a loving father and siblings and his first love, the violin. He becomes brasher with each success. He is as close to an antihero as 1937 would allow.
The real hero is Tokio (Jim Tarbert), his caring trainer, and Lorna Moon (Angie Doren), who at least tries to influence him - only to fall in love with him. He may have become a good fighter, but he just ends up a lousy human being.
Krista Bell, as his sister Anna, gives an amusing performance. Anna's husband, Siggie (Michael Sofaer), puts up with her, hoping to get some money out of her father. John Green plays the very sincere Mr. Bonaparte, who never quite understands his son's drive to be a fighter. John Anthony Delgado excellently plays a very menacing Eddie Fuseli - a hood, a gambler, and a man who muscles his way into part ownership of Bonaparte. Larry Cerrito plays Roxy Gottlieb, a fight promoter. Sven Salumaa, Colin Gillette, Mike Sotko, Aaron Gillette, and John Donaldson all play more than one role.
Golden Boy has twelve scenes in five locations. The backstage crew deserves special kudos for some of the fastest set changes I've seen in years. In fact, several times they're faster than the cast's costume and make-up changes.
The stage, with sets designed by Gordon Jones, is split into two areas, ably defined by Chris Warner's lighting. A swing-out wall opens up revealing two insert sets. A park scene is defined by a bench and very tight lighting. Sound designer Bob Taylor sets the mood many times throughout the play. Lois Corbett's costuming is another high point.
While the play has excellent moments, such as the intimate scenes with Doren and Strouse, the pacing varies greatly, and the few long costume changes slow the natural rhythm of this tough drama.
