Turns out it’s a hat trick for Tyrell William’s Red Pitch; after two hugely successful runs at Bush Theatre, this wonderful one act play returns for a third outing in the West End’s @SohoPlace, with the original cast, and director, Daniel Bailey also returning.
Set in an inner city housing estate, and the small football pitch, where friendships are formed, Sunday leagues are played, and dreams are strived for.
Here it’s South London, but it reflects the realities of communities up and down the country, because this is less a play about the beautiful game, and more a commentary on the gentrification of traditionally deprived neighbourhoods, and what happens to those who are priced out of the places they called home.
Three friends spend their days on the red pitch, the years of practice has paid off as their coach has secured them a trial with QPR. In the days leading up to the trial, and the weeks that follow, we learn how few options are open to young people, and specifically young Black men. Pro footballer or YouTube star seem to be the only line of attack; it’s a case of you can’t be what you can’t see, and these young men can’t see what else they could be.
Williams’ script deftly captures all of this in a running time that’s shorter than a Premier League game. What’s especially clever is the way in which these important themes unfold without ever being explicitly addressed. The rebuilding of the estate can be heard in the background noise of construction works (Khalil Madovi) and we know Omz is a young carer because of the way he talks about his family.
It’s the ‘banter’ between the lads that allows the story to develop, and it all comes naturally from the exceptionally talented cast of Kedar Williams-Stirling, Emeka Sesay and Francis Lovehall, playing Bilal, Joey and Omz respectively. The camaraderie between the three is clear on and off the pitch, so to speak. They also manage to deliver these top flight performances while displaying some impressive ball skills.
Amelia Jane Hankin’s set design puts the audience in the bleachers, watching the action unfold on the pitch, but it’s Ali Hunter’s lighting design that makes the space feel like a stadium of dreams. Also impressive is the fight scene, directed by Kev McCurdy, it’s difficult to watch and just as visceral as the performances from our three central characters.
Daniel Bailey’s production is both witty and moving, while bursting with energy and Tyrell Williams’ script is so compelling the audience have no reservations in becoming ‘the 12th man’. Red Pitch has already achieved the treble but let’s hope this isn’t the final whistle for this stunning piece of theatre.
