Who knows what motivates any of us to want the things we want, to do the things we do? And, in the end, does it really matter—or is it only the trajectory of our lives that is important?
These are real questions to ponder while watching the well-acted but not quite three-dimensional revival of Clifford Odets’s Golden Boy (first produced in 1937), now on view at the Belasco Theater.
Odets is not a subtle playwright. He has big things to say about working class families, the transformative influences that shape first generation Americans, the pull of ambition, and the struggle to find one’s place in life. He paints with a broad brush, the theatrical equivalent of his art world contemporaries like Thomas Hart Benton or Diego Rivera. As a playwright, Odets, a strong proponent of method acting, leaves it up to the director and the actors to breathe life into the characters—something that had not quite come to pass during the preview performance I attended.
In Golden Boy, we are presented with two lost souls: Joe Bonaparte (Seth Numrich) and Lorna Moon (Yvonne Strahovski), whose lives become entangled when Joe, a gifted young violinist, abandons his path—one that has been shaped by his immigrant father (Tony Shalhoub, giving the most grounded performance of the large and talented cast)—in order to pursue fame and fortune.
One gets the sense that Joe might have gone in any number of directions to feed his itch of ambition and his desire to prove himself in a world where being a sensitive young violinist brands you as something of an outcast and less than a man.
As it happens, the particular escape hatch he has gone through leads him into the world of professional boxing, and we watch him transfer himself from his father’s loving hands into the less loving ones of the hard-scrabble boxing promoter Tom Moody (Danny Mastrogiorgio), the kind-hearted trainer Tokio (Danny Burstein), and the mobster Eddie Fuseli (Anthony Crivello), who buys a piece of the action and wants to own Joe outright.
Joe’s counterpart, Lorna, works for and is the lover of Tom Moody. Lorna’s motivation is presented more clearly than Joe’s. She has grown up in a terribly dysfunctional family—an abusive father and a mother who committed suicide. She has hooked up with Tom, who seemingly loves and needs her in a way that she finds hard to resist, so that she hardly considers her own feelings at all.
Joe is one of theater’s “angry young men,” triggered by something deep that neither he nor the playwright is able to name. As his father—loving, supportive, yet helpless to prevent the oncoming train wreck—says of Joe, “he gotta wild wolf inside…eat him up!” Lorna has a bit of that wolf inside of her as well, and it is inevitable that she and Joe are drawn toward one another, just as their lives inevitably spiral out of control.
Odets liked to write big ensemble works, where he could set his central characters amidst family, friends, and acquaintances, whose comings and goings add richness to the larger themes. In addition to Joe, Lorna, Tom, Tokio, Mr. Bonaparte, and Fuseli, there are Mr. Carp (Jonathan Hadary), Mr. Bonaparte’s Schaupenhauer-quoting neighbor; Anna (Dagmara Dominczyk) and Siggie (Michael Aronov), Joe’s sister and brother-in-law; Frank (Lucas Caleb Rooney), Joe’s union organizer brother (gotta have at least one of those in an Odets play!), plus more than a dozen others to round out the cast.
All turn in solid performances, and director Bartlett Sher has done a masterful job of keeping things nicely paced, so that the nearly three hours of running time seldom make you want to look at your watch. However, I do find the direction to be a bit fussy and occasionally excessive. Sher makes frequent use of period music (to remind us over and over that this is taking place in the 1930s?), and stages several boxing gym scenes that fill the stage but are really a bit much. Interestingly enough, however, he chooses to underplay elements of homoeroticism and homophobia that thread through the play.
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