Red Pitch, @Sohoplace Review
Red Pitch production image. Photo by Helen MurrayWritten by Annie for Theatre & Tonic
Disclaimer: Gifted tickets in exchange for an honest review.
For many, a 90 minute viewing is often associated with the beloved game itself, however, Tyrell Williams’ debut play takes those sacred 90 minutes and takes audiences on a journey of brotherhood, growing up, and the threat of the ever gentrifying London.
The cast, who have been together since the play’s premiere in 2022, wonderfully co-lead the play, and pass the lines about much like a game of football, flicking back and forth through carefully timed passes and assists. The play has a wonderful flow and feels entirely authentic, there is no over complication of the dialogue, keeping in line with the setting and casting of the story.
Centred around a South London estate’s football pitch, Williams’ play is about so much more than the beautiful game. Based on his childhood, the play focuses on “dreams and aspirations. But underneath the inevitability of change”. The pitch is used as a symbol of home, comfort and community for these young boys, yet on the verge of destruction, the stakes are raised with the uncertainty of their futures.
The cast beautifully bounce off of one another, giving highly energetic performances, both through speech and movement. The adult cast, comprising of Kedar Williams-Stirling, Emeka Sesay & Francis Lovehall all perform with a great understanding of teenage innocence. They excellently navigate the challenges of being young men, and the struggles of trying to communicate with one another whilst fearful to let down their guards. There are only two moments in the play where the boys touch - the first being in a fistfight brawl - which highlights their inability to communicate through their words, and then again at the end when they awkwardly hug. These little moments punctuate their behaviour; the confusing nature of maturing, amidst losing their home comforts, and the incredibly high stakes of the ever looming football trials.
I did personally feel the script lacked slightly at times in content, which felt slightly disjointed from the high-paced energy of the show, but the overall message of the show is so important and relevant it is still excellently delivered and marked.
Directed by Daniel Bailey, who is close friends with Williams, it’s obvious how this pair collaborated perfectly on the execution of this production - ensuring the message is portrayed exactly as Williams intended. The result is one of pure honesty, beauty and subsistence.
The production of the play is yet another impeccable example of the strengths of @sohplace. A space that continues to challenge the boundaries of what is possible in theatre, and completely opens the box to new opportunities. There are a couple of breaks from the storyline in which the boys one by one play a fantasy of their own, alone on stage, of what it would be like if their football stardom dreams were to come true. With help from the glorious lighting design from Ali Hunter and movement direction from Gabrielle Nimo, these are specific moments that are packed with so much energy, poignance and interest.
In conclusion, it is evident of the importance and passion behind this play from the cast, creative and writers - their whole hearts have been poured into every aspect of this play and the result makes an unforgettable impact on you as an audience member. With other productions such as For Black Boys Who Have Considered Suicide (When The Hue Gets Too Heavy) and The Big Life in the city, this is a really exciting time for Black Theatre. It’s important to recognise this and be inspired by what productions like Red Pitch have to offer audiences.
At @Sohoplace until 4 May 2024.
★ ★ ★ ★
