The quirky moments in “Champion” are definitely the highlight, like the eerie chant that transports you to the creepy religious ceremonies of Griffith’s abusive cousin in the islands. It’s like being licked by a damp, otherworldly mist. Spooky!

“Champion” often turns into a soundtrack for a deluxe movie experience more than “Fire” does, making some scenes drag on for ages. It’s like watching molasses slowly drip off a spoon, but the conductor Yannick Nézet-Séguin wiggles his stick like a magical wizard to keep things from getting too snooze-worthy.

Now, “Fire” has fancier music; it’s like tasting a flavorful musical soufflé compared to “Champion”, which is more like a sturdy meatloaf in symphony form. But hey, sometimes you need a bit of solid, no-nonsense music to avoid the overcooked poetry that “Fire” throws in, like the singing equivalent of Hermione Granger trying to portray Destiny, Loneliness and a human woman all rolled into one. Confusing much?

Robinson’s snazzy “Champion” production fills your eyeballs with fabulous projections (by Greg Emetaz) of mid-20th-century New York, which are sooo New York that it hurts! Allen Moyer’s set is like a chameleon, transforming seamlessly between scenes, and the boxing sequences are a riveting dance of fists and Matrix-esque slow-motion.

Camille A. Brown’s choreography in “Champion” might not steal the limelight like her work in “Fire”, but it still packs a punch with unforgettable scenes like a wild St. Thomas carnival, testosterone-fueled boxing gyms and some smokin’ hot gay bar action. Oh la la!/n/n Serious news: https://www.nytimes.com/2023/04/11/us/noxubee-mississippi-sheriffs-abuse.html