Entering the small studio tasked with containing this formidable livewire of a soccer drama, the motion is already in full swing. Charlton Athletic’s Victory and Youssef, in Nigeria to check out for the final two spots on the nation’s World Cup squad, are doing drills, whereas their coach (a buoyant Jerome Ngonadi) collars viewers members to take penalties. I miss spectacularly; the manufacturing does fairly the other.
A part of the Ryan Calais Cameron season – the Olivier-nominated playwright selected three early-career Black and World Majority writers to obtain monetary backing and mentorship – its author, Justice Ezi, is a transparent expertise, asking expansive questions on racism, belonging and the sometimes-shadowy enterprise of sport by way of the experiences of three males and, particularly, their relationships to their Nigerian heritage.
It’s the final probability for striker Victory (a heartbreakingly frantic Benjamin Akintuyosi) to play for the nation he grew up in, and alter his younger household’s life. Alexander Lobo Moreno’s subtly conflicted goalkeeper Youssef, raised in England, is outwardly extra involved along with his social media following, aloof ex-footballer dad, and a possible supply from staff Morocco, his mom’s delivery nation. However when Michael, a rich white Arsenal star who left Nigeria at 5 (and who’s anointed with the breezy optimism of privilege by Cameron Forrest) unexpectedly joins the trial, discussions of who deserves a spot start to revolve as a lot round who can communicate Igbo or cook dinner pounded yam as who can rating or save a profitable shot.
Nicely-paced and plotted, if a bit unwieldy in the direction of the top, Ezi’s script can be extraordinarily humorous. Michael is a “skinny, flat white”, there are bleakly comedian swipes at England’s racist followers, and lots of a joke rooted within the joys of Nigerian tradition. Its depiction of gameplay is daring, and director Kalungi Ssebandeke does remarkably within the small house with the assistance of fantastic motion work by Gabrielle Nimo. The ultimate choice match, accompanied by pulse-racing sound and lighting, and two suspended objectives, which flip inexperienced when somebody scores, is genuinely nail-biting.
Ezi doesn’t go away us with neat solutions. Even the morally questionable hiring choices of Nigeria’s assistant supervisor Zanza Azuka (performed with swaggering relish by Kossim Osseni) have controversial deserves. And all the higher for it; its nuances make this manufacturing as difficult and thought-provoking as it’s entertaining and poignant.
At Broadway, Catford till 12 July
