An underdog sports drama with heart and grit
Based on the life of Frankie Lucas, a Black British boxer in the 1970s, Going for Gold follows “The Southpaw Slugger” from first stepping foot in a boxing gym in the 1960s to his death in 2023. Throughout, Lucas (played by Jazz Lintott) fights as much against himself, and boxing’s internal politics, as his opponents. His is a relatively simple rags-to-riches story, but where Going for Gold stands out is in the humanity of its writing – it’s unflinching in its portrayal of Lucas’ failings, whilst also capturing a natural passion and charm.
Initially passed over for the British Olympic team as a result of tactical selections, when Lucas is again overlooked for the Commonwealth Games he fights instead for his native St. Vincent. And he wins, giving the British team a bloody nose in the process and preventing them from topping the medal table. Turning professional, Lucas meets similar challenges, being ducked in title fights and feeling forced to sacrifice his family in the pursuit of success.
Going for Gold unfolds in two distinct halves, with the first focused on Lucas’ meteoric rise to fame. Events are exciting and fast-paced, propelled forward by present-day reflections from then-partner Gene (Llewella Gideon), and the compelling chemistry Lucas has with both his amateur and professional trainers (Nigel Boyle and Cyril Blake).
This is complimented by a well-curated soundtrack which provides a strong sense of time and place. Set design is understated, yet evocative, and similarly shifts over the play’s 140 minutes to clearly locate each scene. Clips from Lucas’ most famous fights punctuate key narrative moments, imbuing events with a visceral reality. This is just one example of Going for Gold co-opting boxing’s natural intensity – Lintott throws every punch, and commits to every workout, with convincing energy.
By contrast, the second act initially whizzes through Lucas’ final fights and, missing Gene’s reflections, drags a little. But the Going for Gold takes off the kid gloves: having battled cancer, it’s 2022 and Lucas is being cared for by his son Michael (Daniel Francis-Swaby), another compelling relationship. In between arguments, and more than a few spliffs, Lucas has time to reflect on a life full of sacrifice, on his legacy, and on parenthood. It’s a fitting end to Lucas’ story, asking meaningful questions about priorities, family, and what really matters in life.
There are some areas for development: it would have been interesting to see more clips from Lucas’ fights, and his fractious relationship with Gene would benefit from more exploration. The opening of the second half lacks direction, with nothing driving it forward. But fundamentally, this is the story of Frankie Lucas, someone both easy to root for and profoundly human. It’s a pleasure to spend a couple of hours getting to know him.
Ultimately, Going for Gold satisfies the appeal of a classic sports narrative, whilst delving into the complexities of such a life. Evergreen themes of legacy and sacrifice are given new life through wonderful cast chemistry and a warm, clever script. The resulting show is well-crafted, satisfying, and highly entertaining.
Going for Gold plays at the Park Theatre until 30th November, with Thursday and Saturday matinees. Tickets can be purchased here.