8 October 2025

Review by Paul Neeson (Arts Wednesday)

What a powerful solo performance by Samuel Addison as a conflicted gay boxer that had us pinned to the floor for the entire bout. The intimate space of the Flight Path Theatre in Marrickville only heightened the sense of entrapment that our hero Flynn was portraying. In every sense this was independent theatre at its best.

The space was sparsely set with a punching bag, a stool and bucket and most significantly a mirror (for self-reflection). But it was Addison’s presence and skill that alone created the various settings of the play: boxing ring, nightclub, a park at night and even a schoolyard. We believed that we were there observing his rocky journey through a series of emotionally challenging scenarios, made even more poignant by his mistaken belief that boxers have to be tough and not show their emotions. The inner conflict was there to be clearly read in his every move, utterance and facial gesture. And when it became overwhelming he struck out with a perfectly timed uppercut, the Armageddon.

A special mention to Vocal Performance Coach, Donald Woodburn who helped Addison find his voices – the angry violent voice of the boxer and the gentle soft voice of the creator and lover that was desperately trying to manifest itself. And to Addison’s ability to rapidly change from one to the other, often within the same sentence, or sometimes a skilful blend of both simultaneously. The direction of Teresa Izzard who doubled as Motion Coach enhanced the duality of Flynn’s character whose fantasy lover – if not his desire for himself – was not for a rugged burly boxer but conversely the finesse and litheness of a dancer. The juxtaposition of violent sparring and graceful ballet steps was entirely credible in the hands of the talented creative team. The lighting design (Christian Lovelady) was simple but effective, and could be reduced to red for blood and violence or blue for longing and love. And I liked the use of shadows to cleverly illuminate the title of the work.

Addison’s level of fitness also had to be admired. His was a very physical performance that required a huge commitment to training that included being punched in the face (as he reveals in the interview below). Now that is the craft of acting at its absolute peak.

I have to admit that my unusually low threshold for violence was challenged, not because it was graphically portrayed onstage, but because the power and authenticity of Addison’s performance made it very visceral. Writer James Gaddas’ message was clear (even if some of the denouement was ambiguous) – it is vital to be who you really are and we must fight those who try to suppress and victimise us just for being ourselves. The tragedy was that Flynn, just as he finds the courage to accept himself, is thwarted by those whose expectations are for him to not change. I’m left wondering is there a deeper moral here – for others to accept the real you, you must come to self-acceptance first?

Season runs to 11 October. Not to be missed.

You can listen to a recent interview with Sam Addison and director Teresa Izzard below: