★★★

“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.

THE TIME TRAVELLER’S WIFE at the Apollo Theatre

★★★

“the show is a feast for the eyes with plenty of jaw-dropping, ‘how-do-they-do-that’ moments”

As a species, the ability to conquer the fourth dimension has always fascinated us. Which is why it is so prevalent in literature and popular culture. Particularly as this year comes to an end with the highly anticipated 60th anniversary of Dr Who on the horizon. It is argued that Sophocles wrote the first time travel story over 2,500 years ago. The popularity of the concept has almost convinced us that time travel could, in fact, be possible. Most fantasies revolve around our ability to control our passage through time – from the past or to the future and back again. Audrey Niffenegger’s novel, “The Time Traveller’s Wife”, turned that around to tell the story of a man who has no control. It is not a gift but a curse, and questions of free will, fatalism or predeterminism give the novel a philosophical sheen. The success of the story, however, stemmed from the fact that it was perceived as a love story.

It is this aspect that informs the new musical, which premiered at Storyhouse, Chester last year before its West End run. Lauren Gunderson’s book, with Dave Stewart and Joss Stone’s music and lyrics, is a sugar-coated treat. More saccharin than the real deal raw stuff, there is a synthetic quality to the way it pulls at our heart strings. But once we get used to it, we allow ourselves to be drawn into the narrative. What undoubtedly helps is Bill Buckhurst’s magnificent staging. A collaborative effort, drawing on the skills of illusionist Chris Fisher, the show is a feast for the eyes with plenty of jaw-dropping, ‘how-do-they-do-that’ moments.

“Despite the captivating themes, the episodic nature of the piece leaves them dangling”

At the heart of the story are Henry and Clare – the time traveller and his wife (David Hunter and Joanna Woodward). Henry is a man with a genetic disorder that causes him to time travel unpredictably while his wife, Clare, is left behind to cope with his frequent absences. It is fitting that Woodward opens the show, introducing herself directly to the audience. After all; it’s in the title. Refreshingly told from the wife’s perspective, Woodward empowers her character in a finely balanced performance, practically stealing the show with the highlight musical number, ‘I’m In Control’. It is a rare moment when the emotional temperature lifts a few degrees. Elsewhere, however, the score laps around us in lukewarm waves of predictability.

The narrative is surprisingly easy to follow, given the complex nature of the storyline. Especially when put on paper. Henry and Clare first meet in the library where Henry works part time. Clare has already met Henry several times throughout her life when Henry was older and travelling back in time to visit her. But because Henry is younger than that now, he hasn’t yet built the memories of this, so he has no idea who Clare is. See what I mean? Henry has unwritten ‘rules’ of time travel that he can’t break. But of course, he does – particularly when it is in order to save his marriage. Woodward and Hunter both give polished performances that clearly pinpoint where, and when, we are in their romance. Fantastic support comes from Tim Mahendran and Hiba Elchikhe, as Gomez and Charisse, their best friends and conventional couple who mirror the ups and downs of matrimony without the added complications. Special mention must be made of Holly-Jade Roberts, who plays the young Clare with a fascinating, quirky and natural assuredness beyond her years.

Despite the captivating themes, the episodic nature of the piece leaves them dangling. Yet we also appreciate that this may be an essential part of it, as normal life is continually being torn apart by these uncontrolled fissures in time. And the numerous scene transitions are almost another character in itself. But the questions never dig too deep, hindered as they are by lyrical platitudes such as ‘time is nothing’. Perhaps there is too much to explore and, despite running at just over two and a half hours, there isn’t the time. We leave with a sense of being slightly underwhelmed, but thoroughly entertained, nonetheless. The question remains; will it stand the test of time? Well, there’s only one answer. Only time will tell.

Tag Archives: Helena Pipe

NOUGHTS AND CROSSES

★★★

Regent’s Park Open Air Theatre

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”

NOUGHTS AND CROSSES

Regent’s Park Open Air Theatre

Reviewed on 8th July 2025

by Jonathan Evans

Photography by Manuel Harlan

Last ten shows reviewed at this venue:

SHUCKED | ★★★★★ | May 2025

FIDDLER ON THE ROOF | ★★★★★ | August 2024

THE SECRET GARDEN | ★★★ | June 2024

THE ENORMOUS CROCODILE | ★★★★ | May 2024

TWELFTH NIGHT | ★★★★★ | May 2024

LA CAGE AUX FOLLES | ★★★★★ | August 2023

ROBIN HOOD: THE LEGEND. RE-WRITTEN | ★★ | June 2023

ONCE ON THIS ISLAND | ★★★★ | May 2023

LEGALLY BLONDE | ★★★ | May 2022

ROMEO AND JULIET | ★★★★ | June 2021

NOUGHTS AND CROSSES

NOUGHTS AND CROSSES

NOUGHTS AND CROSSES

The Time Traveller’s Wife

★★★

Apollo Theatre

THE TIME TRAVELLER’S WIFE at the Apollo Theatre

★★★

“the show is a feast for the eyes with plenty of jaw-dropping, ‘how-do-they-do-that’ moments”

“Despite the captivating themes, the episodic nature of the piece leaves them dangling”