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RETROGRADE

★★★★

Apollo Theatre

RETROGRADE

Apollo Theatre

★★★★

“the tension is expertly paced, punctuated with sharp quips and well-timed barbs that keep the drama crackling”

Ryan Calais Cameron’s Retrograde is a taut and electrifying drama that captures a pivotal moment in Sidney Poitier’s career and moral journey. It’s the mid-1950s, and Poitier is on the cusp of stardom. But, his breakout performance in Blackboard Jungle has brought him not only industry attention, but an altogether more sinister political attention. Now, on the verge of signing with New York-based TV network NBC, he faces a career-defining choice: sign a loyalty oath and make a public statement denouncing civil rights activist Paul Robeson or risk blacklisting.

This gripping three-hander, based in truth, stars Ivanno Jeremiah as Sidney Poitier, Oliver Johnstone as his friend Bobby, a white liberal screenwriter who has written a role for him, and Stanley Townsend as Parks, NBC’s ruthless lawyer who demands Poitier sign the oath. As Bobby and Poitier’s friendship is tested, both men must confront how much they are willing to sacrifice for career advancement. Self-interest begins to outweigh principles, and the stakes for all three characters become ever more apparent.

The play runs for 90 minutes without an interval, unfolding in real time as Poitier arrives for what he believes will be a straightforward contract signing. Bobby has been singing Poitier’s praises to Parks, but when Poitier enters, it quickly becomes clear that this is no ordinary meeting. When Bobby is asked to leave, and Parks and Poitier are left alone, the pressure intensifies. Parks reveals that this is not merely about a contract, Poitier must prove that this “Black-Black” actor from the Caribbean upholds “American values.” Their exchange is a harrowing power play, laying bare the racial and political tensions of the era.

Under Amit Sharma’s direction, the tension is expertly paced, punctuated with sharp quips and well-timed barbs that keep the drama crackling. Sharma ensures the psychological and moral dilemmas remain at the forefront. Moments of stillness land as powerfully as the play’s most charged exchanges, often lingering just long enough to make the next verbal moment of levity or cutting blow hit even harder.

Jeremiah delivers a magnetic performance, shifting from an unemployed actor forced to entertain white gatekeepers to a principled man refusing to compromise. Johnstone’s Bobby, brimming with nervous charm, subtly unravels as the tension escalates, his affability giving way to desperation. Townsend, on stage for most of the play, dominates as Parks, embodying cold, relentless pragmatism.

Frankie Bradshaw’s set design enhances the claustrophobic atmosphere. The single setting (a stark, mid-century NBC studio office) is both period-accurate and symbolically oppressive. A subtle but telling touch is a Notorious (1946) film poster on the office wall. Hitchcock’s thriller, centred on espionage and moral compromise, quietly reflects Poitier’s predicament. A prominent clock runs in real time, its ticking growing louder at key moments, reinforcing the inescapable pressure on Poitier, a subtle but effective auditory cue from sound designer Beth Duke. The play opens with period jazz and sound bites referencing Poitier’s growing reputation – significantly, voices of others commenting on him – making the final audio recording, in his own voice, all the more poignant.

Bradshaw’s costume design is equally thoughtful. Poitier’s outfit, a somewhat garish, ill-fitting mix of burgundy and burnt orange, feels out of place, making him appear exoticised beside the grey-suited establishment figures of Parks and Bobby, visually reinforcing the power imbalance. Lighting by Amy Mae plays a crucial role in shaping the mood. Stark, interrogative lighting casts deep shadows, reinforcing the feeling of entrapment. Subtle shifts in lighting reflect the evolving power struggle.

With Retrograde, Ryan Calais Cameron has crafted a play that not only honours Sidney Poitier’s legacy but also speaks powerfully to the present day. The dilemmas Poitier faced – navigating a system that demanded assimilation at the cost of authenticity – still ring true for many actors of colour today.



RETROGRADE

Apollo Theatre

Reviewed on 20th March 2025

by Ellen Cheshire

Photography by Marc Brenner

 

 


 

 

 

Previously reviewed at this venue:

FAWLTY TOWERS THE PLAY | ★★★★★ | May 2024
MIND MANGLER | ★★★★ | March 2024
THE TIME TRAVELLER’S WIFE | ★★★ | November 2023
POTTED PANTO | ★★★★★ | December 2022
CRUISE | ★★★★★ | August 2022
MONDAY NIGHT AT THE APOLLO | ★★★½ | May 2021

 

RETROGRADE

RETROGRADE

RETROGRADE

A CHRISTMAS CAROL(ISH)

★★★★

@Sohoplace

A CHRISTMAS CAROL(ISH) at @Sohoplace

★★★★

“a bumper pack of Christmas crackers – plenty of bangs, groan-worthy jokes, gimmicks and a squeaky toy”

In Scrooge-like fashion, the gremlins struck the press night of Nick Mohammed’s madcap festive spectacular causing the performance to be curtailed. They struck again on this second attempt, with technical difficulties interrupting the final act.

Such is the nature of A Christmas Carol(ish), starring Nick Mohammed’s gremlin-esque alter-ego Mr Swallow, that many of the audience thought the interregnum was part of the production’s nod-and-wink playfulness. The whole thing is a teetering calamity with sufficient nods to the perils of live entertainment to make an appearance by the stage crew almost inevitable.

The downtime was short-lived and towards the climax. By then the four-strong cast had garnered enough goodwill and provoked enough merriment to ensure most stayed around to see the story out.

Just as well, because still to come was Mohammed’s wire walk to retrieve a special parcel lodged in the roof at @Sohoplace. A real nail biter. You underestimate multi-talented Mr Mohammed at your peril.

This is Mohammed’s show – writer, lyricist, star – and it’s been upscaled from earlier incarnations with extra razzle and indeed dazzle. Helpfully, he introduces himself for those unfamiliar with his nasally high-pitched irritant character Mr Swallow, based on a real-life English teacher blended with a hint of Mr Bean.

The plot, such as it is, is modelled on the Dickensian classic with Scrooge replaced by Santa. But don’t attempt to follow the original text too closely – it’s a gumbo pot of festive treats. God appears (voice only) and the nativity story also gets a look-in with a faintly alarming but very funny replay of the birth of Jesus with Mr Swallow as a scouse midwife. Look away now kids.

In director Matt Peover’s song-speckled staging, Mohammed is ably and gamely supported by diva Rochelle (Ghosts’ Martha Howe-Douglas) who is doing them all a favour between Lloyd-Webber gigs; put-upon impresario Mr Goldsworth (David Elms); and ratty orphan Rudolph (Kieran Hodgson). They’re all playing roles in Mr Goldsworth’s production with overconfident and under rehearsed Mr Swallow the rogue element. You can understand why technical difficulties are the least of the production’s concerns.

Special mention for the set (Fly Davis) which appears like a Victorian Amazon warehouse, with boxes to the ceiling, but becomes, at various points, a glowing cityscape with candlelit windows, an advent calendar for character vignettes and, of course, a climbing wall for Mr Swallow’s high stakes scramble.

The reference that springs to mind is – admirably – one of those classic Morecambe and Wise plays “what Ernie wrote” with endless mugging, undercutting, quick fire gags and bags of whimsy. Quick-witted and winning Mohammed is at the centre of it all. He brings his impish charms to what has evolved into an ambitious and glittery production that delivers more often than not.

It’s a bumper pack of Christmas crackers – plenty of bangs, groan-worthy jokes, gimmicks and a squeaky toy. Mishappy Christmas, Mr Swallow.

 


A CHRISTMAS CAROL(ISH) at @Sohoplace

Reviewed on 26th November 2024

by Giles Broadbent

Photography by Matt Crockett

 

 


 

 

 

 

 

Previously reviewed at this venue:

DEATH OF ENGLAND: CLOSING TIME | ★★★★ | August 2024
DEATH OF ENGLAND: DELROY | ★★★★★ | July 2024
DEATH OF ENGLAND: MICHAEL | ★★★★★ | July 2024
THE LITTLE BIG THINGS | ★★★★ | September 2023
BROKEBACK MOUNTAIN | ★★★★★ | May 2023

A CHRISTMAS CAROL(ISH)

A CHRISTMAS CAROL(ISH)

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