The Pitch ★★★

The Pitch is a fascinating exploration of identity and cultural symbolism. At its heart, it’s a deceptively simple sports story about Gaelic Football and the larger national institution of GAA. Without being overly didactic, playwright Phillip Catherwood’s examination of Irish politics is grounded by a central trio of strong performances.

Set in East Belfast on a football pitch which will eventually be turned into a Gaelic Football ground, the show depicts the relationship between Robbie, his sister Melissa and the pro-Republican GAA player, Deren, as they reckon with a pressing Irish referendum and the controversial presence of Gaelic Football in Northern Ireland.

Needless to say, Catherwood deftly weaves together the intersection of its three characters with ease. Robbie is a devout football fan – his father actively protests against the introduction of Gaelic Football – seen as an encroachment on Northern Irish identity. His proclamations of enjoying being “British” echo the sentiment of the Unionists. Football is an English invention.

Derren (a thoughtful performance by Jake Douglas), passionate for GAA, attempts to convert Robbie – their relationship forms the backbone of the play and its subsequent ups-and-downs parallel the relationship of the two nations. Catherwood avoids the cliched trap of “enemies to lovers” by injecting their interactions with a political subtext. Derren’s father himself is a Republican, a devout one at that. Both actors bring an acute sense of naturalism to their roles. Assisting them is Catherwood’s writing – the script is quick-witted excitement.

Particular mention should be made of James Grimm’s nuanced performance as Robbie. At first glance, this is a character who is defined by his struggle to make sense of a changing cultural landscape, yet Grimm injects both humour and genuine frustration at the world. He secretly enjoys GAA, yet it disagrees with his essence as a person. It would’ve been easy to write this off as a two-dimensional binary opposition, but Grimm sees the grey through his characterisation. His facial expressions are excellent, highlighting his inner monologues with ease.

Adding nuance to the central relationship is Robbie’s sister Melissa, played with a boisterous stage presence by Dión Di Maio – her own perspective on the sport is simple, and pragmatic, arguably a position many often take. Di Maio often steals the scene in unexpected ways.

There are clearly a lot of ideas being juggled by Catherwood, from nationality to the implications of a unified Ireland- and this is mostly executed seamlessly, though there are moments that feel underdeveloped thematically. This particularly pertains to Derren’s character’s queerness. While this storyline adds needed emotionality to his performance as a passionate Republican, it isn’t explored with nearly as much depth to justify itself.

Some transitions feel a little unclear. The production falls short in letting moments lead onto the next seamlessly. Though there are certainly innovative sections – especially with how movement is used to move from one scene to the next. Here, Thea Mayeaux’s direction shines, with a keen eye for strong visuals. The clever use of sports balls to contrast each other is a smart way to show distinct cultural values. With a tighter script, this show could truly become a match winner.