Red Pitch (NHB Modern Plays)
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About this ebook
A coming-of-age story about what it means to belong somewhere, Tyrell Williams' fast-paced and sharp-edged play tells a powerful story about gentrification, regeneration and the impact of this relentless change on London's communities.
Red Pitch received an ecstatic critical and audience response when it was first performed at the Bush Theatre, London, in February 2022, directed by Associate Artistic Director Daniel Bailey. The production was revived at the Bush in September 2023, with this definitive version of the text.
For Red Pitch?, Tyrell Williams won the Evening Standard Theatre Award and the Critics' Circle Theatre Award both for Most Promising Playwright, The Stage Debut Award for Best Writer, the George Devine Award, as well as the Off West End Award for Best New Play.
An earlier version of the play was presented in June 2019, as part of the Untold Season at Ovalhouse, London.
'Fierce, affectionate and effortlessly funny' - Guardian
'90 minutes of end-to-end stuff… the plot is pacy and exciting. The language is rich and vivid. It's also very funny… It's still rare to see a play about young, black, working-class youths on our stages: rarer still to see one in which they are celebrated like this' - Evening Standard
'Intelligent, nuanced – an unbelievable debut… phenomenal… true mastery of craft. It's a next-level coming-of-age story' - The Stage
Tyrell Williams
Tyrell Williams is a writer and director for stage and screen. He co-created, co-wrote and directed the viral web series #HoodDocumentary, which had over three million views on YouTube. Following its online acclaim, #HoodDocumentary was commissioned as a web series for BBC Three, which Tyrell directed and co-wrote. His plays include Red Pitch (Ovalhouse Theatre, London, 2019; Bush Theatre, London, 2022; West End, 2024). Red Pitch was the winner of the 2022 George Devine Award). He was named Best Writer at the 2022 Stage Debut Awards, and Most Promising Playwright at the 2022 Evening Standard Theatre Awards.
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Red Pitch (NHB Modern Plays) - Tyrell Williams
Tyrell Williams
RED PITCH
NICK HERN BOOKS
London
www.nickhernbooks.co.uk
Contents
Original Production
Acknowledgements
Epigraph
Characters
Red Pitch
About the Author
Copyright and Performing Rights Information
Red Pitch was first performed at the Bush Theatre, London, on 16 February 2022, and revived on 7 September 2023. The cast was as follows:
Supported by Cockayne Grants for the Arts, a donor advised fund at the London Community Foundation, and the Backstage Trust.
Thank you to Wabriya King and Monaé Robinson for their contributions to the original production.
Special thanks to:
Daniel L Bailey
Ann Akin
Ovalhouse Theatre
Titilola Dawudu
Toby Clarke
Michael Ajao
Ayomide Adegun
Ikky Elyaz
Montel Douglas
Malcolm Atobrah
Abdul Abdalla
Gamba Cole
Ivan Oyik
Imogen Sarre
Kirsten Foster
Joe Pierson
T.W.
‘How they talking on what’s threatening the economy? Knocking down communities to re-up on properties’
Little Simz, ‘Introvert’
Characters
BILAL AMARAL, sixteen, male, Black
OMZ (OMAR) RICHARDS, sixteen, male, Black
JOEY (JOSEPH) SESAY, sixteen, male, Black
Notes
The play is set in present-day ‘urban’ South London.
This story is taking place inside of a football pitch – ‘Red Pitch’ – in summer.
There are scaffoldings around the football pitch.
A constant soundscape of construction underneath the piece throughout its entirety is important to the telling of this story and should be considered seriously in each production. The soundscape of construction should at times feel literal, and at other times abstract, representing the state of the friendship between Bilal, Joey and Omz. It should be interspersed with a protest pertaining to the survival of Esme’s dry cleaner’s that begins innocuous, then grows in its potency but ultimately is silenced. The specific sounds and journeys of the sounds are decisions to be made at the director’s discretion.
A dash (–) is used to indicate an interruption and a slash (/) denotes an overlapping in dialogue.
Pauses and silences are important but are not fixed. Each pause and silence should be considered in that moment. However, more often than not, a silence should be longer than a pause.
Scene One
It’s the summer holidays and there are two young friends, BILAL and OMZ, playing football inside of a football pitch whilst the third friend, JOEY, is attentively watching the game whilst in goal. The game is FA.
BILAL and OMZ are really going for it. There is grabbing, hard tackles flying in and sweat pouring from their faces. Eventually, BILAL does his classic ‘drop, drop’ shoulder move (a move in which he shifts his body weight to his right then to his left then back to his right whilst tapping the ball in that direction) taking him around OMZ. BILAL shoots and scores a goal past JOEY, effectively ending the game.
BILAL remains humble in victory. OMZ is disappointed.
JOEY. Good shot bro.
BILAL. Light work.
JOEY. Mbappe yeah? Make sure you do that at the trials.
BILAL. Obviously. ‘Drop, drop’ shoulder – easy.
BILAL does the ‘drop, drop’ shoulder move again without the ball.
Omz, I want a tropical juice yeah.
OMZ pauses for a second, taken aback. He looks around as though BILAL could never be talking to him.
OMZ. What?
BILAL. Tropical juice. It’s a blue carton – says ‘Sun Pride’ on it.
OMZ. Why’s that my problem?
JOEY. Here we go…
BILAL. Red Pitch rules: Loser of FA goes shop for the winner. You lost. I won so pick me up a tropical juice… and a Twix.
JOEY. Let’s just play FIFA you man.
OMZ stands still staring