JOHN Conteh is a local hero who was the pride of Merseyside throughout the 1970s and, judging by the reception he received when he arrived to see Aron Julius’ new biographical drama Conteh, his popularity as a Kirkby legend remains as strong as ever.
You can tell that this project has been a labour of love for Julius, who has not only clearly worked hard on the background research but also on getting his physique and his boxing moves into shape, for what turns out to be a tour-de-force performance at the centre of a play that he has not only written but also stars in.
It is some years now since Conteh spoke out openly in the media about his fight with alcoholism, which turned out to be a fiercer adversary than any of his opponents in the ring, effectively bringing his winning streak to an early end. Julius’ play follows him through the highs and lows of his mid to late boxing career, revelling in the successes, but not shying away from the darker times that followed.
We join him in 1974, when he is already on a roll, and is preparing to defend his Commonwealth title. The fights are played out in shadow-boxing style, with Julius narrating his progress jab by jab and round by round, and it is in these sequences that we really see the heart of what frequently feels like a solo performance.
But under the direction of Mark Womack the work features four other actors playing six additional characters. Most effective of these contributions is that of Amber Blease who plays Veronica. She appears quite early on in the action, and their awkward courtship and the marriage that follows forms one of the strongest storylines in the piece alongside the ongoing series of fights. Her steadfast support, which lasts through some rocky patches, seems to be what carries him through to becoming the more contented soul who we see in the play’s closing pages.
Mark Moraghan plays George Francis, the equally legendary trainer who saw Conteh through most of his successes, while Helen Carter is George’s wife Joan, also doubling as Marianne, the therapist who helps guide him back to a life of sobriety. There is another good double role for Jack Levene, who is particularly affecting as John’s brother Tony, whose influence leads him into a few lost weekends. Levene also dons a wig which almost upstages him when he swaps roles to play American promoter Don King – a move that brings some much needed humour to the narrative.
The stage set by Zoe Murdoch, featuring projected backdrops from Jamie Jenkin, cleverly allows a boxing ring to transform into various other locations, but given the frequent movement of furniture on and off the set it might have been wiser to have level access from the wings to avoid some of the rather distracting lugging of tables, chairs etc. up and down steps and ramps.
It is in this expansion beyond what in many ways cries out to be a one-man play that some of the action feels a little overstretched, and what turns out to be quite a lengthy run time could benefit from a little paring back in places.
Nonetheless, what really shines here is the central performance by Julius, in a focused, nuanced and deeply affectionate tribute to Conteh. The skill with which he draws us into his inner world to share the conflicting emotions of his life is extraordinary. It is rare to find a work that balances triumph and heartache quite so well, and the reaction from the man himself, who stepped onto the stage at the close of the press night performance, tells us that this is a piece of storytelling that resonated well with its subject.
Conteh is at Liverpool’s Royal Court until 9th May, with tickets available here.
Star rating: 3½ stars
Review by Nigel Smith