Authentic and gripping. From the writing of Williams to the strong cast of three

The lively and welcoming Bush Theatre, the venue again for the returning Red Pitch. Before we were asked to take our seats, we were invited to have some drinks and hear a few speeches. Lynette Linton (Artistic Director of the Bush Theatre), Daniel Bailey (Director of ‘Red Pitch and Associate Artistic Director of the Bush Theatre), Mimi Findlay (Executive Director of the Bush Theatre), and Lenny Henny, got us all excited for the upcoming show and the upcoming season at the Bush and celebrated all forms of British theatre, Black theatre, and Asian theatre.  

Entering the cosy Holloway Theatre my excitement grew.  The play is set in the round with a small urban football pitch surrounded by red fencing and railings. The seating on our side of the pitch had been built for the show and was cleverly made to look like a football stand, with a tunnel for the actors to enter through to the stage, to the ‘Red Pitch’. Smartly designed by Set and Costume Designer Amelia Jane Hankin. 

Before everyone was seated Omz, played by Francis Lovehall, entered the pitch. Equipped with a ball he began to showcase his football skills. Dribbling, keepy-uppies, around-the-worlds, playing ‘one-twos’ with audience members as they were crossing the pitch to get to their seats. I was trying to catch the reaction of Crystal Palace captain Joel Ward in the first row to see if he was as impressed at his footballing ability as I was. Dare I say, I think he was.  

When everyone was in their seats, we were able to settle in for a spectacular 90 minutes [red] pitch-side. The story follows three black 16-year-old boys living in a small community in South West London, ‘Reedbury’. Omz, Bilal, and Joey, played by Francis Lovehall, Kedar Williams-Stirling, and Emeka Sesay, respectively. ‘Reedbury’ is rapidly gentrifying. Flats being knocked down and rebuilt. Friends and neighbours are having to move or wanting to. Shops are changing or being boarded up. Life is uncertain for these boys, but all will be fine if they become professional footballers, and Queens Park Rangers (QPR) trials are coming up.  

The boys’ conversations and their relationships are honest and real. The writing, by Tyrell Williams, and acting is both powerful and true, whether the boys are winding each other up about who is the best, discussing girls, or if one of them is struggling to vocalise issues off the pitch. The script is also incredibly witty, and all three actors displayed great comedic timing on top of their strong and believable acting offers. Impressive performances by all three but a special mention to Lovehall as without having to say too much I felt the reality of the pressure he was feeling, regarding looking after his granddad and his little brother. A truly strong performance.    

Sound (Khalil Madovi) and lighting (Ali Hunter) was used to good effect throughout the show. For instance, we never directly see the gentrification, but the boys discuss or joke around the topic and some clever sound devices are used to carry this through the audience. Gradually in the production we hear construction noises, tactfully placed alongside the script. The lighting was creatively adapted to mimic football pitch floodlights, used for transitions where the boys were dreaming of playing and scoring in the premier league, to good effect. 

Much like the reality of the characters and story, the fight scene was possibly the most real I had experienced in the theatre. Each blow met with a wince, yelp or gasp from the audience. A true testament to the Fight Director Kev McCurdy and stage combat talent of Williams-Stirling and Lovehall. 

Virtually every scene would begin and end in a similar way, upon entering or exiting the red pitch each character would tap twice on the railing of the entrance. Possibly superstition or a sign of respect to their own theatre of dreams, either way a powerful directional tool utilised by Daniel Bailey. This device gave power on the rare instance one of the three boys consciously made the decision not to perform this ritual. 

One of my only notes was that I found some of the physical theatre translations slightly clunky, but this may have just been because my particular view in the round was not the optimum location for the full effect. This said, it did not detract from my theatre experience one bit.    

The story is powerful and topical. Areas just like Omz, Bilal and Joey’s are being gentrified in London and elsewhere in the UK. Communities such as theirs are often being left in a state of uncertainty and suffering because of it. They are just teenagers, they shouldn’t have to worry about this, on top of all the worries they are already facing. Minority and global majority communities are the ones that often suffer from this all-too-common urban socioeconomic process. This story is important, it needs to be told and it needs to be heard by all.  

This show is relatable and at times hilarious. Although not everyone might be able to directly relate the issues faced by a black or minority community experiencing gentrification, everyone has their own red pitch. Their own place that brought them and their friends together, not necessarily to play football, maybe to skate, play tag, anything. Mine was more of a cow field than a red pitch, but I would be so mixed up with emotions, even now, if that community and that area was at risk. 

I would urge anyone able to watch this to get tickets to this run at the Bush Theatre. This is real, powerful Black-British theatre. I should caveat that if you do not like or follow football, you might miss a few references and struggle to relate to some parts of the production. I would not let this put you off though, if I could describe Red Pitch as a goal, it’s top corner from 30 yards out.