Simon Ward reviews The Pass at the Pearly Queen Theatre

The Bow Bells is a traditional East End pub, which seems to be thriving. The Pearly Queen Theatre is its latest addition – ascend the stairs next to the bar and what must have previously been a small function room has been converted into a space for theatre. John Donnelly’s hit play The Pass, first performed at the Royal Court back in 2014 has been chosen as their second production. This is an ambitious show, directed by the theatre’s Artistic Director Glenn T. Griffin, with a striking set comprised of gym equipment, hanging football kit and a huge TV screen playing old World Cup highlights. There is also a driving soundtrack of classical rock fusion which adds an air of frenzied energy.

The story unfolds in a series of hotel rooms, as if to highlight the artificiality and transience of the life of the professional footballer. When we first meet Jason (Ben Moxon) and Ade (Josh Hitchman-Pinnock), they are just starting out and hoping to make it as professionals, sharing a room in Bulgaria before a match that could make or break their careers. As they banter back and forth about football and girls, there are other feelings in the room that they can barely dare to acknowledge. If anything were to happen between them, no-one could ever possibly know, not if they want their dreams of glory to come true.

Jason is determined to make it and will not let anything stand in his way. And if that means failing to pass the ball to Ade so he can score an unlikely wonder goal himself, well so be it. In the end only one of them was ever really going to make it anyway. But when he gets everything he always wanted – the fame, the money, the wife and kids – why is there still an emptiness at his heart, a void that nothing can seem to fill.? It seems he might be searching for some human connection when he brings back a lap dancer (Eliza Shea, excellent) to yet another hotel room. They do seem to be breaking down barriers until it turns out to be just another bizarre stunt. Everything and anything must be done to ensure that the money keeps rolling in.

There is something compelling about being invited into this intimate space and watching things unravel. Donnelly’s script feels utterly authentic and the changing relationship between the two players tragically real. When Jason, a decade on, invites Ade back to his room he seems to be searching for something. But Ade refuses to be pitied or patronised. It may not be glamorous but his life is at least grounded, and he is being true to himself. Jason, on the other hand, is increasingly alienated. He still has money but his career is in decline, his marriage has ended in divorce and he needs to keep popping pills to feel anything at all. But his tragedy is that he can’t admit that or do anything to change it. Instead he ends up brutally bullying hotel worker Harry (Charlie Hammerson) just because he can.

As the play begins we see Jason on his own, extravagantly kimono-ed and working out on an exercise bike and it looks like the ultimate in luxury; as it ends, he looks the same but it is the most desolate thing in the world.

The Pass is running at the Pearly Queen Theatre, 116 Bow Rd, London E3 3AA until Saturday 3rd October