Top Dog/Underdog
A Melbourne Theatre Company review by Alex First
Damon Manns and Ras-Samuel star in the Australian premiere of the Pulitzer Prize-winning play Top Dog/Underdog
Photo by Sarah Walker
Acclaimed actor Bert LaBonté makes his directorial debut with the jive-talking, Pulitzer Prize-winning comedic drama Top Dog/Underdog.
It is a two-hander, involved African American brothers.
Lincoln (Damon Manns) has (temporarily) moved into his younger brother Booth’s (Ras-Samuel) small, rented apartment, which has no toilet or running water.
That follows Link’s break-up with his wife, Cookie (who we never meet).
I should mention that they were named Lincoln and Booth as a joke by their father. Of course, John Wilkes Booth assassinated President Abraham Lincoln in 1865.
Lincoln and Booth were abandoned by their mother and father when they were still children, first by their mum and then by their dad, two years later.
Link used to be a card hustler, the best of the best at the caper known as three-card monte. That was until his right-hand man in the scam, Lani, was shot dead while the pair was operating together.
Now Link point blank refuses to touch the cards and has taken a job as a whiteface Abraham Lincoln impersonator.
That is despite the jobless, punk-faced, hot-headed Booth—who wants to be known as Three Cards—imploring Link to join forces with him in the hustle.
In fact, Booth steps up the pressure on Link when Link tells him his position is under threat.
Booth is forever trying to perfect his sleight of hand and is keen to receive tuition from Link.
Booth, who always packs heat, is also hot to trot and keen to get back with his ex-girlfriend Grace (who we also never meet), although try as he does, she isn’t buying.
With no moral compass, Booth is forever boosting whatever he wants, when he wants.
He is a big talker with little or nothing to show for himself. Truth be told, his future is bleak.
More than once, he and Link clash, the consequences of which will be devastating.
Writer Suzan-Lori Parks pulls no punches in pricking the harsh reality of the American Dream, as an air of mistrust and danger permeates the narrative.
Top Dog/Underdog is full-on in its use of coarse language, sexual references, pornographic material and depictions of violence.
Ras-Samuel and Damon Manns produce power-packed performances, whether bouncing off each other or delivering searing monologues.
Ras-Samuel is energy on steroids as the toey and showy Booth, who aspires to much, but is simply a big talker.
His is a grand, compelling, “look at me” presentation from start to finish.
Damon Manns is more laid back, although forthright when required, in his realisation of the older and wiser brother.
It is a largely polished, heavyweight offering, notwithstanding a series of dropped lines on opening night.
The explosive interplays between the duo are among the show’s many highlights.
Patrons are most pleasingly close to the action throughout, with four rows of seating on three sides of The Lawler.
I commend the evocative, working class set design by Sophie Woodward, who also excels with her bold costuming choices.
While the first act felt a tad long to me, director LaBonté has given the Australian premiere of Top Dog/Underdog the strength and muscularity it so richly deserves.
It is playing at Southbank Theatre, The Lawler until 21st September, 2024.
