Review by Daz Gale
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There are few theatre experiences that stay with me as much as Ryan Calais Cameron’s For Black Boys Who Have Considered Suicide When The Hue Gets Too Heavy has. Upon seeing it at the Apollo Theatre 2023, I was struck by the writing and how powerful it was. That same year, the writer premiered another play, Retrograde at the Kiln Theatre. Another example of Ryan Calais Cameron’s talents, it now gets a West End transfer, rather fittingly, at the same theatre as his other West End premiere. Would this prove to be a similarly memorable experience?
Set in 1955 and inspired by real events, Retrograde focuses on the legendary Sidney Poitier, ten years before he becomes the first Black man to win the Oscar for Best Actor. On the cusp of stardom, he readies himself to sign a career-defining Hollywood contract but finds that it comes at a cost. As he considers signing his life away, he has to weigh up whether to put his career before his principles.
A three-hander set entirely in one office, there is far more than initially meets the eye in this slow-burner of a play. What starts as a fairly straightforward meeting with a slight power battle emerging slowly reveals itself to be full of differing themes with the racist attitude towards Poitier bubbling away beneath the surface. At its heart, Retrograde is a morality tale where Poitier has to decide exactly what he stands for and how much he is willing to do and sacrifice for that. As he weighs up both sides of the argument, flipping from one to the other, the writing does a beautiful job of expressing his inner monologue and the conflicting thoughts he has on the situation.
This is where Ryan Calais Cameron’s writing truly shines. Beautifully balancing differing aspects of the situation, his writing showcases the essence of humanity with authentic and thought-provoking conversations. As he dissects the nature of the situation, the richness of the writing comes to life with moments of humour and larger than life characters battling with more serious, nuanced moments. Though Retrograde is a snapshot of life in 1955, particularly with the seemingly throwaway racist comments that are directed at Poitier, the morality tale extends deeper than that, shining a light on how prevalent these attitudes can still be 70 years later. With “retrograde” meaning moving backwards, in some respects it feels like that is what happening in certain parts of the world in regards to attitudes. This makes Retrograde all the more relevant and resonant.
Filling the huge shoes of Sidney Poitier is Ivanno Jeremiah, reprising his role from the original role at Kiln in 2023. In what I remember being a confident and captivating portrayal 2 years ago is even more assured now, with Jeremiah beautifully tapping in to the nature of the legendary actor and stripping it all down to reveal the core of what made him tick and how such an impossible decision can be weighed up. Jeremiah showcases strength and versatility as an actor in an initially restrained performance that allows for the explosive moments later on to feel all the more impactful. His finest moment comes in a powerful speech midway through the play where he carefully and articulately advises those still looking to oppress him that change is coming – the marriage of Cameron’s writing and Jeremiah’s performance makes this a particularly exceptional moment in a consistently strong play.
Stanley Townsend proves the perfect sparring partner for Poitier in his role as Parks, with his questionable and outdated attitudes proving for the most exciting of dynamics as progress battles the past. Though not the most likeable of characters, with an ego that threatens to overtake the entire play, Townsend plays up to the larger than life nature of this character wonderfully in a character you love to hate. Oliver Johnstone completes the cast as Bobby in a role that almost requires him to be a mediator. Though the intensity kicks up a notch when the character leaves for a large chunk, he brings a comic approach to his scenes that carries more weight than the humour would have you believe.
Amit Sharma’s direction finds creative ways to match Ryan Calais Cameron’s vision, with Frankie Bradshaw’s set design meticulously realising Parks’ office with a subtle and great use of sound design from Beth Duke bringing more atmosphere to the mix. With a tone that ranges from humorous to serious and a real tension always prevalent, Sharma finds excellent ways to create this in the direction, with each actor’s characterisation so fine-tuned as are the way they play off each other, resulting in a continually thrilling watch.
If I loved Retrograde when I saw it 2 years ago, I loved it even more this time around. With several tweaks to the show, it has become an even better version of its already impressive self, while the larger space of the Apollo doesn’t lose any of the intimacy necessary to feel a genuine connection to Poitier and the situation he finds himself in. Another example of Ryan Calais Cameron’s genius writing and featuring an unforgettable lead performance from Ivanno Jeremiah, Retrograde is another winner, proving every bit as trailblazing as the legend at the heart of the story.
Retrograde plays at the Apollo Theatre until 14th June
Photos by Marc Brenner