SING YER HEART OUT FOR THE LADS. To 15 May.

National Theatre

SING YER HEART OUT FOR THE LADS
by Roy Williams

The Loft, Lyttelton Theatre. To 15 May 2002
Runs 2hr 5min One interval

TICKETS 020 7452 3000
Review Timothy Ramsden 7 May

Soccer racism successfully dramatised through a range of clashing viewpoints.The RSC had its Pit at the Barbican, and now the National has its Loft, at the Lyttelton, designed to attract new, younger audiences with low prices and work they can key into.

Judging by a matinee of Roy Williams' story about racism among a pub football team, there could be tension between these new audiences and other National theatre-goers. Audience etiquette is a skill – how many places teenagers spend their time and money expect similar behaviour and lack of vocal response? New audiences won't be encouraged if they're met by a battery of 'Shhing', or if adults bringing them are given handy audience hints on how to organise their visits.

Yet the few vocal comments I heard were focused on the action, indicating an interest that's better than the slumbering, rustling, whispering inattention found among 'conventional' theatre audiences.

Gina's south-west London pub regulars gather to watch what'll turn out to be England's defeat by Germany in 2000. The match, and manager Kevin Keegan's post-defeat resignation, are carried on monitors while the tide of racism gathers.

Her teenage son Glen is attracted by Black street-life, represented by Bad T. This costs him his jacket and mobile, a theft that brings Black riots to the pub door, and a mother tearing in to defend her accused son. (Interesting cross-female abuse here, the Black English 'bitch' against Gina's south London 'cow'.)

Williams successfully dramatises a clash of made-up minds, often avoiding the expected. His white policeman isn't racist, but struggles against the racist attitudes spouted by his violent brother - a searing performance by John Marquez, threatening without off-the-shelf thuggishness.

And the playwright's aware there's a modern racist theory which has moved on from old-style fascism. Alan, given a sympathetically mild manner by Paul Copley, uses pool games to needle and destabilise brothers Barry and Mark. Barry – cheeks painted with the flag of St George – finds his (over-obvious) desire to belong to a white 'us' undermined.

Though its action seems contrived to lead repeatedly back to its central issues, the play contains enough interesting tensions to make it a worthwhile start to this exploratory season.

Gina: Jane Hazlegrove
Jimmy: Gawn Grainger
Glen: Billy Seymour
Mark: Kolade Agboke
Duane: Oladapo Tijani
Bad T: Marvyn Johnson
Lawrie: John Marquez
Becks: Callum Dixon
Lee: Alex Walkinshaw
Phil: Gary Oliver
Alan: Paul Copley
Jason: Sid Mitchell
Barry: Freddie Annobil-Dodoo
Sharon: Kay Bridgeman

Director: Simon Usher
Designer: Anthony Lamble
Lighting: Steve Barnett
Sound: Rich Walsh
Voice work: Patsy Rodenburg, Kate Godfrey

2002-05-14 14:59:01