Retrograde, Apollo Theatre Review
Stanley Townsend (Mr Parks), Ivanno Jeremiah (Sidney Poitier) & Oliver Johnstone (Bobby) in Retrograde. Photo by Marc Brenner
Written by Cathie for Theatre & Tonic
Disclaimer: Gifted tickets in exchange for an honest review
Sidney Poitier nowadays is considered a legendary American actor and one of the biggest stars from the golden age of Hollywood. He was the first Black and Bahamian actor to win an Academy Award and also won two Golden Globes, a BAFTA, a Tony award and two Emmy Awards. However, this incredible legacy very nearly never came to pass due to one meeting with a Faustian lawyer on the eve of his big break. This clandestine meeting and its impact is what this incredible play explores.
Ryan Calais Cameron has outdone himself with this remarkable script. This play has razor-sharp dialogue with the same snappy comebacks as a thriller movie in a very different style to his previous West End hit, For Black Boys Who Have Considered Suicide When the Hue Got Too Heavy. Set in a brilliantly styled office (by Frankie Bradshaw), we see every inch of this small space utilised to its most deceptive claustrophobic air. The tension is perfectly wound to increase throughout until you can literally feel the oppressive weight of the words and see the literal box being pushed onto Poitier in an attempt to force him to sign a Faustian contract which would give him wealth and fame beyond his imaginings if he denounces Paul Robeson as a communist.
Without giving away too much of the intricate plot dynamics this play shifts backwards and forwards to reveal some very complex moral boundaries. These include questions of how far would you go to protect yourself and your family? How far do you need to compromise your values to propel your career? At what point does white allyship cross boundaries into attempted white saviourism? How should we react when freedom of speech is violated? How do we progress as a society in the face of fear of “others”? This play does its best to showcase Sidney Poitier’s principles, convictions and morals as chooses his own answers to these questions in discussion with others in a very satisfying way.
Its transfer to the West End from its sold-out running at the Kiln theatre last year has definitely sharpened and further fleshed out this storyline with the phenomenal trio of Oliver Johnstone, Stanley Townsend and Ivanno Jeremiah. Their chemistry together is astounding and intricate, you can really see the bonds between the characters and the way they react to pressure. Jeremiah as Sidney Poitier is truly magnificent to watch. He showcases the layered character, strong convictions and fears in a beautifully vulnerable way and is utterly magnetic on stage. Much of the audience were spellbound watching him grapple with difficult choices and his use of the dramatic pause is truly impressive. Oliver Johnstone as struggling NBC writer Bobby was a brilliant foil to both Townsend and Jeremiah, bringing out the best and worst of both characters while struggling through his own arc. His fierce defence of his friend Sidney was sincere although he finds himself slipping into desperation and ineptitude as he’s desperate to get his movie made.
Townsend as lawyer Parks was a masterclass in showcasing a manipulative antagonist. He shifts effortlessly between tactics to corner and pinpoints the other two into doing what he wants and is utterly relentless in his ambition. A true chameleon you never know just what his motivations are and who is pushing his buttons to pressure the others. Townsend is truly terrifying to watch on stage as he winds the tension ever more taut. He perfectly exemplifies so many fragile men, who is terribly afraid that the wave of changes will leave them struggling to stay on top of the society pyramid as he hasn’t had to put in effort until now. His rants about “American Values”, “American way of life” fears of “reds” and championing of Macarthism can be found echoing in our modern newspapers as well as in the 50s. Director Amit Sharma’s second time directing this play also allows for more nuances and the use of the dramatic pause in an even more defined way.
This is the best play on the West End right now. Retrograde is the kind of play that you will be telling everyone in your life to go and see, and will be bragging to your children about how you got to see it on the West End stage. It’s powerful, dynamic and deeply resonant with modern struggles despite being set in the 50s. It’s an instantaneous classic whilst feeling a perfect part of two timelines at once. If you want to see a show this year make it this one.
At Apollo Theatre until 15 June 2025.
★ ★ ★ ★ ★
