Review: RED PITCH, Bush Theatre

Tyrell Williams’ tale of football, friendship, and societal shift has smashed records and garnered outstanding feedback across the board when it premiered last year. A number of awards and the surprising surge in sports-themed plays we’ve had recently have put it back on the map for another limited run. Could this playwriting debut be eyeing a well-deserved West End transfer at this point? It’s already a success, it might as well become a commercial hit too.

In South London, best friends Omz, Bilal, and Joey worry about the upcoming team tryouts. They feel like it’s their only shot at becoming bona fide stars of the game they love, and they’re stressing out. As they train hard, bickering about strategy and the future, gentrification threatens their community. The trio of performers are electrifying.

Kedar Williams-Stirling, Emeka Sesay, and Francis Lovehall are fuelled by adrenaline. They share tender moments of unwavering and unconditional support, but they also violently argue when their fears take hold of the best of them. Williams writes a sharp analytical commentary under the surface of the ups and downs of loyalty. With an exceptionally calibrated pace and a curated, uninterrupted running time, Red Pitch remains great entertainment built on the strong foundations of specific issue-led theatre.

Director Daniel Bailey maintains a steady visual rhythm, constantly moving the actors on the central stage. They play, they talk, they react, and it never comes off artificially. Their quick exchanges of precisely used slang and familiar colloquialisms are natural and flowing: the characters feel authentic and real. There isn’t a trace of vernacular added for the sake of pretend naturalism or forced youth that's been written by a middle-aged playwright. It's an excellent example of new writing and it’s what happens when you nurture young writers who want to write about their peers.

The growing pains of masculinity and the social expectations of black teens emerge subtly in an elegantly slanted reflection on the redevelopment of their estate. Coming to the tiny football pitch daily, they see shops shut down regularly as the noise of the construction works that surround them infiltrates Khalil Madovi’s soundscape sneakily.

The action unfolds on “red pitch”, a communal space where the youngsters have been able to go and kick around for their whole lives. Designed by Amelia Jane Hankin, the beauty of the production can be found in all its details. The part of railing that they smack twice upon entering and exiting the concrete slab is worn out and there’s still blood where an epic fight broke out (the boys remember it fondly, almost with awe).

Offhand references to small incidents are reprised through the text. From the writing to the direction and visuals, Red Pitch is a beautiful, thought-provoking tapestry of topical themes.

Red Pitch runs at the Bush Theatre until 30 September.

Photo credit: Craig Fuller

To post a comment, you must register and login.