‘Relentless’ brings unfamiliar realism to Syracuse Stage
The world premiere production of Relentless by Rae Binstock at Syracuse Stage. Feb 4 - 22, 2026. Photo by Mike Davis. Courtesy by Syracuse Stage
On a stage that resembles the interior of an industrial-style boxing gym, a young man trains with a punching bag, wearing a golden jersey with "Wookie" printed on the back. An old man reclines in a chair beside the ring.
The round bell rings crisply.
Relentless invites the audience into its intense, sweat-dripping world just minutes before the official acts begin.
In this world premiere, playwright Rae Binstock draws on her experience at Gleason’s, a legendary boxing gym in the U.S. The production delivers a heartfelt love letter to this once-glorious, market-shrinking sport and its community.
Exploring the tension between carrying on a legacy and moving into the next chapter, the play opens with an immediate debate between ex-professional boxer Monique Jeffries (Rebecca S'manga Frank) and her former coach, Johnny Pierce (Jeorge Bennett Watson), about the types of training they offer at Bailey’s — a fictional version of Gleason’s.
Act one unfolds the central conflict when Monique accepts an offer from her wealthy Wall Street client, Matt Michaels (Stephen Michael Spencer), to renovate the gym into an elite boxing facility — a move Johnny fiercely opposes, and one that ultimately climaxes in a Golden Gloves showdown between their fighters Wookie (David Harrison Pralgo) and Matt in Act two.
The show brings screen-quality realism to Syracuse Stage, creating a 360-degree boxing immersion from the moment the 1:1 gym-replica set comes into view. The “hall of fame” above the lockers and a large sign honoring Monique’s IBF championship highlight the history and pride of Bailey’s. The actors’ punch moves and the sharp clang of the bell boost adrenaline. While almost all the details are precisely crafted, the applause sound effect sometimes doesn’t sync well with the fights and distracts from the authentic experience. The production team should leave the reaction to the audience — in fact, during a student-oriented show, some even stand to cheer for the fighters, as if they had forgotten it’s a play.
Most costumes are activewear, but they still clearly distinguish the characters. Johnny’s printed tops reflect his legacy-driven persona by referencing milestones in boxing history — whether it’s a red “1964 Miami” recalling the February night when Cassius Clay (later Muhammad Ali) stunned the world by defeating Sonny Liston, or a blue “ALI 1971” explicitly paying tribute to the Ali-Frazier “Fight of the Century.”
Besides fussing over his $900 peacoat, Spencer leaves a strong impression as Matt, vividly portraying this comedic white-collar role with layers of goofy physicality, especially in the moments when Monique “tortures” this slightly class‑proud client during training. The playwright deepens the character by letting him speak out Monique’s unarticulated longing through the line “you deserve more than legacy,” prompting her to listen to herself.
The play sets future power versus heritage pride, but it doesn’t define right and wrong; instead, it offers an inclusive message: what matters most is loyalty to one’s own heart. As Monique and Johnny take different routes, their love for and insistence on the sport are not unlike each other.
The production team also introduces a subplot that addresses boxing and domestic violence by examining the crimes of notorious boxers. While it is a meaningful attempt, the play offers no answer, leaving a paradox of self-defense.
What happens after Bailey’s renovation is also left open, which makes Relentless more like an intro to a TV show, and you want the next episode.