/ Don't hate the media, become the media.
Jello Biafra

And out of the three, it’s only Omz that really sees the damage being done to their community, and he tries, with all he’s got, to hold on to Red Pitch. Losing this, for him, is losing such an important part of his identity. He sees that communities are being forced to lose their sense of collective identity as, one by one, families get rehoused as builders finally move in to knock down decades of history and culture. Omz sees that proposed regeneration or gentrification is the nail in the coffin for most communities like Reedbury, and in Williams' writing, there is a painful truth to this. Across South London, huge tower blocks have suffocated the skyline, with communities over time erased to make way for boutique flats that remain mostly empty. 

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Omz fears are the fears of someone who knows what the future holds for Reedbury, Red Pitch, and the community that has shaped him. Once an area is earmarked for regeneration, almost everything stops, most importantly any inward investment. Years go by, and the communities continue to fracture and break; houses and flats get boarded up; nobody moves in; and these once-thriving communities become ghost towns. Every time Omz spoke about Reedbury and what was happening to its residence, I was reminded of Andrea Luka Zimmerman’s Estate, a Reverie 2015 documentary that was filmed over several years at Hackney’s Haggerston estate. This film charted the slow, painful, and heartbreaking decline of the Haggerston Estate, one that was slow enough to create lasting pain. 

This provides great weight to Omz’s frustration in that he’s not only seeing the fracturing of his friendship but also the breakdown of his community, and there is nothing he’s able to do about it. There are a few instances where lighting designer Ali Hunter and sound designer Khalil Madovi converge to illustrate the crossroads at which Omz finds himself. Their use of light and sound and Bailey’s staging capture a frozen Omz, unsure and unclear what he can do. Standing there, looking towards this light and the mumbled sound of local residents protesting against the developments, Omz couldn’t move. Should he not join them? Should he not fight for his home? We know Omz has passion and is articulate in the way he talks about the estate, but that passion is outweighed by other, unspoken factors that young black men face, even when they’re trying to defend and protect their community. These scenes are some of the most heartbreaking because they also, sadly, silence Omz. A young man who fears nothing when it comes to telling Joey not to urinate on Red Pitch, but in these moments, Williams takes away his voice. These are powerful moments for both Omz and the audience, as we’re given a beat and a brief moment to really think about what they’re all going through.

One of the recurring themes within Williams' text is the tapping of the metal post each time Bilal, Omz, and Joey walk in and out of Red Pitch. This motion, for me, adds to this romantic idea of London being a city that is made up of a series of sounds. The double-tap of metal on metal can serve multiple purposes for Bilal, Omz, and Joey, but I’m choosing to believe that the main purpose it serves is as a reminder to each of them of the importance of Red Pitch, and what it means to them. This tapping will also be something that will follow them for the rest of their lives; it’s a permanent memory of this salient, transformative period in their lives. Every time they hear the tapping of house keys against a metal, they’ll be transported to Red Pitch, and in this moment they will freeze and become reflective briefly, and a smile will come across their face.

Anyone who has lived south of the river will know that Morley’s is an institution, so when Joey comes to Red Pitch late and tells Bilal and Omz about having to go all the way to Camberwell because their local Morley’s became a soup café, the laughter from the audience was deafening. In another instance, when they go to a party and Omz returns something to Joey, this scene is perfection. The audience knew it to be true, as did the actors, meaning they created something so relatable, personable, and funny.

"Williams and Bailey have platformed young black voices in such a way that you feel a sense of pride that these authentic stories will be heard in the West End."

Moreover, I think that the growing tension between the trio and the pressures of the tryouts resulted in a more realistic pre-conclusion. One of the greatest lessons we learn in life is that it’s OK to be disappointed, and it’s OK to be sad if you lose. As Angela Bassett proved, that doesn’t make you a sore loser; it makes you human.

It’s a credit to Williams and Bailey that, when Red Pitch headed to the West End, they included their original leads. Williams-Stirling, Sesay, and Lovehall are priceless, truly, as they present Bilal, Joey, and Omz with such believability and honesty that it is astonishing. Perhaps one thing that remains unspoken—we can put that down to youth—is the love between them, which is why Omz is struggling so much. The bond between these characters is a beauty that only comes from pure friendship, and Williams-Stirling, Sesay, and Lovehall have a connection to their characters and each other that is incredibly beautiful. 

Williams and Bailey have platformed young black voices in such a way that you feel a sense of pride that these authentic stories will be heard in the West End. Williams' writing is as funny and heartfelt as it is political and hopeful. He doesn’t have any of his characters say the N-word; he doesn’t have them disparage women or each other. His writing presents young black men who are an important part of the fabric, history, and legacy of London but have never had the chance to really be seen or heard. He brings their voices to the forefront, normalising their worries, pains, struggles, and fears. Through Bailey’s thoughtful and accomplished direction, Red Pitch has become an unforgettable and salient piece of theatre. It’s a theatrical theatre experience—the rare type of show you see that doesn’t only leave its mark; it also offers a chance for theatre producers to sit up and listen. This is the type of show and narrative that people want and need. Red Pitch shouldn't sit alone or in the company of a few.

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Walking home, I walked through Norwood Park, which has a multiple-purpose sports pitch. I walk past, looking at groups of kids playing sports—some even rollerblading. I can see how essential this space is for them, their friendship, and their family. And I imagine Omz, Joey, and Bilal tapping in as guardians 'In Englands green & pleasant Land'.