Christopher Walker reviews Tyrell Williams new play Red Pitch

What’s it like to be young and black in South London today?

Tyrell Williams stands witness. His new play, Red Pitch, is a dynamic exploration of the relationship between three teenage boys, and how they cope with the challenges of growing up in a fast-changing urban landscape.

We are lucky in London to have so many talented writers emerging from the fog of the Pandemic.

The Bush Theatre has a particular dedication to seeking out black talent as part of its commitment to ‘Black Lives Matter.’

It recently hosted ‘The Protest’ a series of six pieces released during lockdown “by black creators in our writing community as a response to the killing of George Floyd, and its impact on black Britons.”

The writer here, Tyrell Williams recently took part in the Young Harts Writing Festival at the Lyric Hammersmith, winning the title of Audience Favourite.

He describes himself as “a passionate storyteller” and he is certainly plugged in to today’s generation.

His viral web series, #HoodDocumentary has had no less than four million views on YouTube. Red Pitch is his first full-length play.

Described as “a coming-of-age story about what it means to belong somewhere,” Red Pitch puts the microscope on the lives of three boys, Bilal, Omz and Joey.

There’s no question where the boys think they belong. The action centres on the boys’ local football pitch which “has been a home from home, a place where [they]’ve laughed, fought and forged friendships.”

Tyrell asks, “what happens when it’s under threat?”

The housing estate where the boys live, Esme, is under threat of redevelopment.

There is a constant noise of construction in the background, and the author has given instructions for a set that is dominated by scaffolding, with the “red pitch” in the centre.

Hats off to the Bush Theatre for pulling this off.

Director Daniel Bailey, and designer Amelia Jane Hankin have followed these instructions to the letter.

Although the resulting ‘theatre in the round’ requires a difficult game of Jenga to get all of the audience in place. And with no interval and no re-admissions, late-comers beware.

Fortunately on opening night a twenty-minute delay in ‘curtain up’ gave them a chance to squeeze in.

The three actors give tight and touching performances, although it is a regret that actors of the correct age (16) could not have been found.

The audience would perhaps have greater sympathy if the characters youthful inexperience were more obviously an obstacle to the challenges they face and their inability to communicate emotions.

This is certainly true of the character Omz, who is difficult and moody, though Francis Lovehall gives a superb performance.

He is the bad boy of the trio for a reason. Although he at least sees the hypocrisy of blaming others for the decline of the boys’ neighbourhood when it is combined with their own anti-social behaviour.

Kedar Williams-Stirling and Emeka Sesay are also strong as Bilal and Joey. Somewhat more easily likeable characters than Omz.

The friendship between the three boys is matched with an undercurrent of squaring off against each other as they compete to gain the much-coveted entry to Queens Park Rangers.

At one point this spills over into violence, to shocked cries from the audience (well done fight director Kev McCurdy).

The language is very contemporary and may be hard to follow for those unfamiliar with usage like “Paigon,” “wipe you,” “get a crib round my bit,” “pengest,” “cappin’ it,” and “Ps.” And there also several Islamic references like “Astaghfirullah.”

But believe me, penetrating this argot is worth it.

Tickets: https://www.bushtheatre.co.uk/event/red-pitch

 

Photo credit: Craig Fuller