By: Darryl Reilly
Lust and longing are palpable as two 17-year-old English ostensibly straight soccer players clad in their underwear strut, philosophize, and share their hopes during the first scene of playwright John Donnelly’s raunchy, jolting, and twisty The Pass. The complexities of celebrity and sexuality are explored during two other vivid scenes. This play debuted in 2014 at London’s Royal Court Theatre, was filmed in 2016, and now makes its New York City premiere at La MaMa on a two sided-playing area bringing the action up close to the audience.
In a Bulgarian hotel room, we meet the middle-class Jason whose father runs his career and the working-class Ade of Nigerian origin who has an agent. They are each at a promising start but only one will ultimately be chosen to continue on the football team. Seven years later in a Spanish hotel room the Machiavellian Jason who is now married with a child and who has become a star player with commercial endorsements has brought a British femme fatale nightclub dancer in for a diversionary tryst to dispel gay rumors about him. Six years later in a London hotel room Jason and Ade have a revelatory reunion; a young male staff member is pivotal during their encounter which is laden with homoerotic overtones.
The English Mr. Donnelly’s glorious command of dramatic writing is reminiscent of John Osborne’s combative class consciousness, Harold Pinter’s renowned menace, and Simon Gray’s scorching wittiness. The Pass is a scintillating play peopled with articulate characters who achingly navigate the passage of time.
The athletic and magnetic Matisse Ratron-Neal’s blazing performance as Jason anchors the show. With his lithe physicality and melodious voice Mr. Ratron-Neal boldly enacts his character’s egotistical machinations. Combining sunniness and soulfulness Terry Bell as Ade is an ideal sparring partner for Ratron-Neal. Mr. Bell is initially youthfully comic and later maturely wise during his indelible turn.
Vivacious Ino Badanjak dazzles as the exotic dancer Jason brings back to his room. Ms. Badanjak breathlessly veers from being a playfully tart coquette to a hardboiled film noir dame.
Boyish and quirky Oliver Rowland-Jones is uproarious as the loquacious 19-year-old hotel worker who gleefully parties with the two older men with wistful effect.
Director Max Hunter’s energetic physical staging combined with high caliber stage craft results in this pulsating production. There are raw movement sequences within each scene and for transitions which visualize the characters states of being, particularly a drug-fueled exhibition. Alysia Homminga’s intimacy coordination achieves a sensual dynamic.
Three distinctive hotel rooms are the hallmark of Seth Byrum’s grand and detailed scenic design. Lighting designer Cheyenne Sykes appropriately shifts back and forth from sedate to frenetic. Megan Culley’s sound design renders pop tunes and effects with blaring flare. Video designer Dwight Bellisimo’s smart imagery is shown on hotel room televisions. From choice briefs, boxers, sweatpants, a slinky dress, and a bellboy uniform, Amanda Roberge’s costume design realizes the look of each character with artful authenticity.
This incarnation of The Pass reveals it to be a thrilling psychological drama with searing performances that has been given a vigorous presentation.
The Pass (through September 4, 2026)
The Max Hunter Company
La MaMa, 66 East 4th Street, in Manhattan
For tickets, visit www.themaxhuntercompany.com
Running time: one hour and 50 minutes with no intermission