In the 1980s, American writer Bill Buford was living in England when he came across football hooligans, groups of young men who intensely followed soccer matches and often indulged in extremely violent behavior in their enthusiasm. The young men, who took the term ‘fanatic’ to new heights, had become infamous around the world, because of the mayhem, destruction, and sometimes even death their “support” caused. Understandably enough, Buford became fascinated with this phenomenon, and began asking questions. Endowed with the curiosity of a writer, he began by just wanting to know more, to uncover what lay beneath the violent exterior of the “supporters.” What eventually happened was that Buford immersed himself in the culture of the “lads” for three years, putting himself at the center of the drinking, the violence, and the fringe culture of extremism that existed with their ranks. The book that resulted, Among the Thugs, was a brilliant sociological document that posed many provocative questions, chief among them: why? Was this a textbook example of the psychological phenomenon dubbed “mob mentality?” Was it something more? Buford, and playwright Szentgyorgyi, offer no easy answers. And that’s what makes Among the Thugs so riveting and thought provoking. Among possible reasons given are the fact that the young men are disenfranchised by dead-end jobs that offer them no pride in their accomplishments (the play calls them the “non-working working class”) ; they are acting out a racist agenda (shadowy neo-Nazi organizations are, for some, part of the allure) ; they are responding to a primal male bonding kind of blood lust that today’s modern culture doesn’t allow; they have nothing else to live for.
Director Kate Buckley, who staged the world premiere of Among the Thugs last season at the much smaller Next Theater space, where its raw violence and hard-edged energy were intense enough to take one’s breath away, has again handled this complex and explosive exploration with an almost feverish devotion, evoking the sometimes humorous, more often nightmarish, antics of these hooligans with bravura and skill. Among the Thugs, in her capable hands, and with Szentgyorgyi’s powerful adaptation, becomes a visceral thrill ride. It helps that most of the original cast has returned and their energy and commitment is obvious, albeit frightening at times (as it should be). Rick Paul (set) Jaymi Lee Smith (lighting), and Lindsay Jones (sound) all make mighty contributions to the in-your-face energy of this theatrical assault.
Among the Thugs is a winner. Don’t miss it.