“Playing music, it’s the way I explain myself to myself”. Affirmed by our protagonist (Josh O’Connor) during the first act, the mission statement to Sam Yates’ Golden Boy is perfectly encapsulated. To what extent are we willing to trade parts of ourselves in exchange for climbing the social ladder? The Olivier Award-winner directs this new revival of Clifford Odets’ iconic American classic, interrogating the fragility of the American Dream for contemporary audiences.
We are familiar with a premise like this: the exceptional protagonist who have their creative aspirations be challenged and misunderstood by those around them. It is a tale as old as time. Here, Josh O’Connor leads that tale as the gifted violinist Joe Bonaparte, a working-class New Yorker who reckons with abandoning his musical dreams for the lucrative life of professional boxing. Two very opposing lifestyles for sure. The backdrop being the height of the 1930s Great Depression era complicates this tension. Joe becomes torn between his temptations for fame and security, all while questioning what fulfilment can truly mean.
It would be hard to dispute against the versatility of Josh O’Connor. Beginning his rise to stardom as the competitive tennis player in Challengers (2024); followed by his role as the incompetent art thief in The Mastermind (2025); a poor father seeking belonging in Rebuilding (2025); to becoming the standout performance in Netflix’s juggernaut sequel Knives Out: Wake Up Dead Man (2025) last winter. His filmography is undoubtedly an impressive showcase. And after years of flourishing in on-screen lead roles, O’Connor has returned to the theatre stage with an all new Italian-American accent and muscular build.
He is the beating heart to Yates’ production, offering a central performance that you can’t seem to lose your attention from. There is something so specific about O’Connor’s ability to convey equal sensitivity and strength to his character. You feel an intense empathy for his turmoil, and yet are also dazzled by his physical prowess. A beautiful pairing of two juxtaposing experiences, as echoed in Joe’s dilemma between the art of music and boxing. It is a true character transformation that makes you forget his previous roles. O’Connor’s continued dedication to the craft, if it needed reminding, solidifies him as one of the industry’s most captivating stars.
While O’Connor may be the reason for the play’s sold out run at London’s Almeida Theatre, it should go without mentioning the equally stellar supporting cast. Hayley Squires is magnificent as the love interest Lorna Moon, a watchful woman who begins the story as the mistress to Bonaparte’s manager (played by Daniel Mays). As we progress, it becomes clear her deep devotion is actually meant for our protagonist. Mays’ character is very much a problematic man, but one you are unable to not be entertained by.
Furthermore, Yates offers some striking production decisions under their direction. The third act takes a dramatic visual shift, easily becoming worth the price of admission alone. A live string quartet is utilised for the play’s musical score in sparing moments by Isobel Waller-Bridge. The players are hidden onstage behind a window’s shutters, only revealed later in the third act. The restraint on the score offers emphasis on the dialogue and eventually heightens the weight of the play’s climax. Also featured is an onstage camera hidden inside Joe’s punching bag, with the recording projected in monochrome across the back wall. It is a captivating production trick. The twirling shots and close-ups that are all occurring in-real time escalates the urgency of the situation, making the audience feel as if they are in the boxing match itself. The entire final half hour feels like a pure dopamine shot. A risk-taking attempt to (rightfully) show off the great technological access possessed by Yates’ production.
As mentioned earlier, this is a tale as old as time. But there is a reason why we continue to return to these stories as storytellers and viewers. Perhaps watching a man’s ruthless pursuit of ambition, executed through his fighting spirit, will forever be an enthralling experience. Narrative drama that is heightened by the emotional loss and sacrifice caused by capitalism’s vicious system. I for one, believe this makes for a thrilling time at the theatre. And the creative sandbox of Golden Boy makes it no different.
Golden Boy comes to cinemas worldwide from 5 November with National Theatre Live. You can find your local venue at www.ntlive.com
Trailer: https://www.youtube.com/watchv=0sA9s_mWLik&pp=ygUSZ29sZGVuIGJveSB0cmFpbGVy
Credits : Photography assets by Marc Brenner.
