Displaying items by tag: Marco Ramirez

Writers Theatre scores a knockout production with Marco Ramirez’s 2013 play, The Royale. Under the direction of Tyrone Phillips, we see this widely-produced script (it played New York’s Lincoln Center a decade ago) executed to perfection. Centered on boxing legend Jack Johnson, it follows a fictionalized version of his story. In 1910 Johnson became the first Black world heavyweight champion by besting James Jeffries, the reigning heavyweight, who was white. 

The show opens with a mesmerizing percussive scene. For this production, the Writers Theatre stage is floored with rough hewn boards to make a boxing arena, the building’s back wall exposed with faded painted bricks. A punching bag hangs at the back of the set and as lights come up, a lone boxer is pummeling it. (Lauren Nichols is Scenic Designer.) 

Soon another boxer enters the stage and the two begin a wordless, precisely choreographed percussive dance centered on the bag, their footfalls resounding loudly, reaching a crescendo at the culmination, a scene that draws applause for its sheer inspired beauty. (Rasell Holt is Movement Director.) The audience knows it is in for something big in The Royale. 

Ramirez, a well-established Netflix writer (Orange is the New Black, Daredevil) keeps the tale rooted in the true story. Our fictional heavyweight star Jay is played superbly by Broadway star La’Tevin Alexander. And man, he is good! 

When Alexander takes the stage, his sculpted body is arresting and he is handsome in a Michael B. Jordan way. But as he begins to deliver his lines, he soon has us in his thrall, a larger than life force, like Muhammed Ali, supreme in his confidence and aiming at the top. Yet Jay is also warm and magnetic. We can’t help getting behind him. 

La’Tevin Alexander as Jay (left) and Ajax Dontavius as Fish, in a bout as trainer Wynton (James Vincent Meredith) looks on. Photo by Michael Brosilow..

Entering a spar with a visibly frightened first-time boxer Fish (Ajax Dontavius), Jay works the audience. “How many rounds you want me to give you?” he asks us, all calm and confident. The presentation of the match is inventive: the two stand at angles and shoulder to shoulder, then punch or receive hits toward the seated crowd, stomping their feet to sound the impacts. Particularly inspired is the lighting, which heightens the drama and delineates regions of the stage, such as the boxing ring, rectangles of light narrowing as bouts draw to a close. (Jason Lynch is Lighting Designer.)

After Round 4, Jay prances, feigning boredom perhaps. “How you all doing?” he asks us spectators, adding lightheartedly, “I heard tell there was a fight here tonight.” After he vanquishes Fish, who survives and even lands some blows that surprised his adversary, Jay hires him as his sparring partner. 

After the knockout, Jay dons a suit and reveals his ambition to his promoter Max (Scott Aielio): to take on the retired white championship boxer, Bigsby. (In real life, Jack Johnson coaxed James Jeffries out of retirement to take him on.) When Black people box each other, Jay says, their boxing stories only make the inside pages of the newspapers. But if he battles a white champion, Jay will make the front page, where even non-readers will register his fame. 

“Bixby’s never fought a Negro. No one ever has,” Jay says of his white counterparts. 

“The paper says Bixby would disgrace his legacy by stepping into the ring with you,” Max tells him. Such was the tenor of the times of Jim Crow. Nevertheless Jay drives his reluctant manager to negotiate a fight for him with Bixby, and Max scores an offer, albeit one-sided. Bixby wants 90 percent of the ticket sales.

Another character inhabits many scenes, Jay’s trainer Wynton (James Vincent Meredith). Limping and dispensing advice judiciously, Wynton triggers the description of a racist entertainment called “battle royales” (from which the play takes its name) in which a crowded ring of blindfold Black boxers battled until only one was left standing. 

Wynton also bears witness to Jay’s braggadocio, and toward the end, the aftermath of the boxer’s encounter with his sister Nina (AnJi White). She shows up like a deus ex machina to add gravity to Jay’s quest, just hours before the match. Jay is already struggling with nerves, having learned of multiple armed threats against his life, knowledge Wynton did not share with him. 

As Nina and Jay explore their shared past, Nina serves to reveal Jay’s deeper motives in his quest: to right wrongs where young Black women didn’t see themselves reflected in ideals of beauty, even maiming themselves with dangerous hair straightening chemical and hot iron treatments. 

Nina warns Jay of a potential consequence if he bests Bixby: Black people will be punished by whites angered in reaction to his success, should he win. In the dramatic structure, this added pressure suddenly summoned into the script so close to the end seems unnaturally crammed in, almost melodramatic in its effect. In my mind it detracted from the seriousness of the concern itself.

In fact Nina was proven right. In real life, race riots were ignited by Jack Johnson’s victory over Jeffries, documented in a huge newspaper front page unfurled at the final moment of the show. 

Two scenes I relished: Fish has given away his seat, and plans to listen to the fight on a radio in a bar, which will lead to another tragic event. Dontavius gives us Fish’s ecstatic joy over the imminent fight, which he showers obliviously on a deeply distressed Jay. The other scene is Scott Aielio’s soliloquy as Max on his dedication to Jay’s career, and the challenges it has presented for him as a white man steering Jay protectively as the boxer all the while flaunts the evil restrictions of Jim Crow. Max argues compellingly not to win gratitude, but to convince Jay that he has been and is truly dedicated to him. 

The Royale is highly recommended as a theatrical experience, and a worthy revelation of history less present today. It runs through November 29, 2026 at Writers Theatre in Glencoe, IL.

Writers Theatre, under the leadership of Executive Director Kathryn M. Lipuma and Alexandra C. and John D. Nichols Artistic Director Braden Abraham, continues its 35^th Anniversary Season with the highly-theatrical historical boxing drama The Royale from Marco Ramirez (Orange is the New Black, Buena Vista Social Club) and directed by Tyrone Phillips (Fat Ham; Byhalia, Mississippi). Inspired by the first Black world heavyweight champion and Chicagoan Jack Johnson, The Royale follows Jay "The Sport" Jackson as he fights for his place in history, The Royale will run October 22 – November 29, 2026 in the Alexandra C. and John D. Nichols Theatre at 325 Tudor Court, Glencoe. 

Jay is a really good boxer, so good they call him "The Sport." He's won his last seventy-six fights and has his sights set on being crowned the next heavyweight champion. But it's 1905, and in the Jim Crow era, a Black man doesn't get to fight a reigning white champion. When a surprising chance at the title appears, Jay gears up for the fight of his life—where the stakes are staggeringly high inside the ring and out. Inspired by real-world boxer Jack Johnson, this adrenaline rush of a play by Marco Ramirez (Orange is the New Black, Buena Vista Social Club) is a kinetic and poetic portrayal of what it takes and what it costs to make history. 

"The Royale is inspired by the boundary-breaking boxer Jack Johnson and the price of his determination to get to the top, As Jay's obstacles grow, so does his determination, his pride, his discipline and the costs to the people who love him," comments says Alexandra C. and John D. Nichols Artistic Director Braden Abraham. "Director Tyrone Phillips and his incredible ensemble of performers will conjure an entire world and its systemic tension using a captivating blend of rhythmic and percussive choreography. It's an invigorating way to continue our 35th season at Writers with a play built from a piece of American history too often left out of the story."

The cast of The Royale includes: La'Tevin Alexander (Jay), Scott Aiello (Max), Ajax Dontavius (Fish), James Vincent Meredith (Wynton), AnJi White (Nina). The understudies are Yomade Adefeso (Jay Understudy; Fish Understudy), Kristin Ellis (Nina Understudy), Joel Gelman (Max Understudy), Frederick Paul Williams (Wynton Understudy).

The creative team includes: Tyrone Phillips (Director), Rasell Holt (Movement Director), Lauren M. Nichols (Scenic Designer), Gregory Graham (Costume Designer), Jason Lynch (Lighting Designer), Stephanie Farina (Sound Designer) and Kenya Hall (Dramaturg). The stage manager is Imani M. Ross.

Single Tickets for The Royale start at $35 are now on sale at the Writers Theatre Box Office at 325 Tudor Court, Glencoe, by calling 847-242-6000, and at www.writerstheatre.org.

About the Artists

Marco Ramirez (Playwright) has had plays produced at Lincoln Center Theater, The Kennedy Center, The Humana Festival, The Old Globe (San Diego), The Bush Theatre (London), American Theater Company (Chicago), Soulpepper (Toronto) and Center Theatre Group (LA). Honors include Helen Hayes and Drama Desk nominations, the Outer Critics Circle's John Gassner Playwriting Award, Juilliard's Lila Acheson Wallace Playwriting Fellowship, Lincoln Center's Le Comte du Nouy Award and TCG's Edgerton Foundation New Play Award. Marco is also a WGA and Emmy Award-nominated TV writer and producer, where his credits include Marvel's Daredevil (Netflix), Marvel's The Defenders (Netflix), Sons of Anarchy (FX), Orange is the New Black (Netflix) and Fear the Walking Dead (AMC).

Tyrone Phillips (Director) is the founding Artistic Director of Chicago's Definition Theatre. Recipient of the 2022 Alumni Award for Diversity and Inclusion, he is a graduate of the University of Illinois at Urbana-Champaign and has studied abroad at Shakespeare's Globe. As a first generation Jamaican-American, Tyrone is passionate about equity, diversity, inclusion and accessibility in the fine arts industry and has completed advanced anti-racism training to lead change in our community. Select theater credits: Definition Theatre, Chicago Shakespeare, Goodman, Steppenwolf, Writers, Old Globe, Berkeley Rep, Milwaukee Rep, St. Louis Rep and Stage 42 (off-Broadway). Tyrone is currently adjunct faculty at DePaul University and serves on the Board of Directors for the League of Chicago Theaters. He is the recipient of the Inaugural Arts Midwest Peter Capell Award for Midwestern Creativity and Entrepreneurship and proud member of SDC, SAG-AFTRA and the NAACP. 

La'Tevin Alexander (Jay) is making his Writers Theatre debut. Regional credits include Joe Turner's Come and Gone as Herald Loomis (Penumbra Theatre); The Piano Lesson as Lymon (Milwaukee Rep and Cincinnati Playhouse In The Park); The Light as Rashad (Portland Center Stage); Paradise Blue as P-Sam (Portland Playhouse); A Christmas Carol as Scrooge (Portland Playhouse); Reggie Hoops as Muncie (Profile Theatre); and Dracula: A Feminist Revenge Fantasy as Jonathan Harker (Portland Center Stage). Film credits include Outdoor School (2025); Test Screening (2024); The Paper Tigers (2020); Marry, Fuck, Kill (2024); and Dearest Eva (2022). Television credits include: DELPHI (Prime); CHAD (TBS); The Wonderland Murders (ID); Portlandia (IFC); and Grimm (NBC). He has a BA from Florida A&M University.

Scott Aiello (Max) is returning to Writers Theater, where he previously appeared as Duke Frederick in As You Like It. Other Chicago Theater credits include: Ma Rainey's Black Bottom (Goodman), Hamlet (SS), A Midsummer Night's Dream (SS), Henry V and Richard III (Chicago Shakespeare), A View From the Bridge (Shattered Globe), Perfect Mendacity (Steppenwolf), Awake and Sing! (Timeline). T.V. and film: American Rust (Showtime, Recurring), Billions (Showtime, Recurring). Joseph Jefferson Awards- Leading Actor in a Play (A View From the Bridge, Shattered Globe, 2024), Supporting Actor in a Play (Broadway Bound, Pegasus Players, 2002) Scott has narrated over 300 audiobooks. Training: The Juilliard School.

Ajax Dontavius (Fish) is a Haitian-American actor. Recent credits include: Blues for an Alabama Sky (Seattle Rep and Remy Bumppo Theatre); Last Night and The Night Before (Steppenwolf Theatre); Measure for Measure (Chicago Shakespeare Theater); Fences (American Blues Theater); and Middle Passage (Lifeline Theatre). Television: NCIS: Origins, Chicago Fire, Chicago P.D., 61st Street. Education: B.F.A. Acting – Roosevelt University/Chicago College of Performing Arts.

James Vincent Meredith (Wynton) previously appeared at Writers Theatre in The Dutchess of Malfi and Othello. Broadway credits include Skin of Our Teeth (LCT), Book of Mormon (Eugene O'Neill, also National Tour), The Minutes, and Superior Donuts (both Music Box). Local credits include work at Chicago Shakespeare, Goodman, Court, Victory Gardens and Steppenwolf (ensemble member since 2007). Recent Television credits include Fargo (FX), Emperor of Ocean Park (MGM), Your Honor (Showtime), 61st Street (AMC/CW)

AnJi White (Nina) hails from the South Side of Chicago. She last appeared in Covenant and Fat Ham (Goodman Theatre). Some Chicago credits include East Texas Hot Links (Court Theatre, Jeff Award for Best Supporting Actress); For Colored Girls (Court Theatre Jeff Award for Best Ensemble); Sunset Baby (Black Theatre Alliance Award for Best Actress, TimeLine Theatre) and more. Regional credit: Paradise Blue (Studio Theatre in D.C., Helen Hayes for Outstanding Supporting Performer). TV credits include: Marvel's Ironheart, Fargo, 61st Street and more.

The Royale

Written by Marco Ramirez
Directed by Tyrone Phillips

Alexandra C. and John D. Nichols Theatre

October 22 – November 29, 2026

Cast: La'Tevin Alexander (Jay), Scott Aiello (Max), Ajax Dontavius (Fish), James Vincent Meredith (Wynton), AnJi White (Nina), Yomade Adefeso (Jay Understudy; Fish Understudy), Kristin Ellis (Nina Understudy), Joel Gelman (Max Understudy) and Frederick Paul Williams (Wynton Understudy).

Creative Team: Tyrone Phillips (Director), Rasell Holt (Movement Director), Lauren M. Nichols (Scenic Designer), Gregory Graham (Costume Designer), Jason Lynch (Lighting Designer), Stephanie Farina (Sound Designer), Kenya Hall (Dramaturg) and Imani M. Ross (Stage Manager).

Performance Schedule: 

Wednesdays: 2:00pm and 7:30pm 

Thursdays: 7:30pm  

Fridays: 7:30pm  

Saturdays: 2:00pm and 7:30pm  

Sundays: 2:00pm and 7:00pm 

Open Captioned Performance: Thursday, November 19 at 7:30pm 

ASL-Interpreted Performance: Saturday, November 14 at 2:00pm 

Pay-What-You-Can Performances: Thursday, October 22 at 7:30pm and Sunday, November 22 at 7pm

Location: Alexandra C. and John D. Nichols Theatre, 325 Tudor Court, Glencoe 

Prices: $35+

Discounts are available for students, educators, theater industry professionals, active military personnel, veterans, police officers, firefighters and their immediate families. Information is available at: https://www.writerstheatre.org/plan-your-visit/box-office-and-theatre-center/pricing--special-offers 

Box Office: The Box Office is located at 325 Tudor Court, Glencoe; 847-242-6000; www.writerstheatre.org 

Single tickets will go on sale Tuesday, September 1. Flex subscriptions and tickets are available online at www.writerstheatre.org, and at the Box Office by calling 847-242-6000.