NOUGHTS AND CROSSES

Regent’s Park Open Air Theatre

★★★

“what could be a gripping, nail-biting production is brought away from the cliff edge by the proclamatory style of the writing”

Malorie Blackman’s series of novels, headlined by the opener “Noughts and Crosses”, describes an alternative, present-day reality in which the controversial subject of racial power is turned on its head. The premise is explored through a tale of forbidden love in the vein of ‘Romeo and Juliet’. The two teenage protagonists are from opposite sides of the social divide in Blackman’s young adult fiction. The target audience is apparent in Dominic Cooke’s stage adaptation which has gone straight for the bull’s eye; and therein lies both its strengths and its weaknesses.

Society is divided into the subservient Noughts – the white underclass; and the Crosses – the privileged black people who hold the power. Like the novel, the story is told through the eyes of Sephy (Corinna Brown) and Callum (Noah Valentine). When their innocent childhood friendship grows into a blossoming romance it drifts into dangerous territory – Sephy is a Cross while Callum is a Nought. Furthermore, Sephy’s father is running for Prime Minister while Callum’s father, and elder brother, are embroiled in freedom fighting, plotting terrorist attacks under the banner of the Liberation Militia.

Directed by Tinuke Craig, the storytelling is exceptionally clear – with Brown and Valentine intermittently speaking out to the audience, pointing out major plot turns with their slightly false-sounding street patois. When not involved in the scene, the entire cast watch from the sidelines; silently observing, and judging, ready to jump in if needed to either calm or exacerbate the situation. Colin Richmond’s harsh metallic, multi-layered set gives the gritty backdrop required for this urban fable, although a touch incongruous against the lush greenery of Regent’s Park which it ignores rather than tries to incorporate. Max Pappenheim’s powerful sound design provides the tension and menace, aided and abetted by Joshua Pharo’s lighting. Nevertheless, what could be a gripping, nail-biting production is brought away from the cliff edge by the proclamatory style of the writing. Often too simplistic, the issues come across as overly black and white (pun intended).

Despite the lack of nuance, Brown and Valentine give persuasive performances, pitching well the impulsiveness and impetuosity of star-crossed lovers. Even if you don’t know the outcome, you get the sense of impending tragedy. Alec Boaden, as Callum’s brother Jude, is thuggish and menacing, while Richard Riddell as their father wraps his iron fist in a protective glove which, while allowing some sympathy, doesn’t condone the family’s violent drive for insurrection. Meanwhile, Sephy’s parents are portrayed more simplistically, leaning into caricature.

There is limited emotional engagement, even though it is very watchable with some great flourishes of style. Cooke has managed to keep it relevant and up to date while throwing in some subtle parallels with Shakespeare. A pseudo balcony scene is neatly hemmed in, and touches of comedy provide much needed comic relief. Even, in the bard’s true fashion, the climax seems rushed with seemingly last-minute knots being tied up. The message remains unresolved, but the ideas that pave the way are a dynamic and potent series of stepping stones. The journey is made less perilous, though, by the overstated delivery. It is the perfect show, however, to draw in a new, younger audience and it is certainly a triumph in demonstrating the raw power and necessity of theatre.