Even with five-star reviews from its premiere at the Kiln Theatre, a West End transfer for a play about Sidney Poitier was never guaranteed. Considering the ‘action’ is three people in one room talking about two pieces of paper, it could be considered a tough sell. But Ryan Calais Cameron’s new play is wonderfully rich. Looking at “trailblazer, activist, icon” Poitier at the start of his career in such a sophisticated and provocative style would surely have made its subject proud.
On the eve of signing a contract with a TV station, Poitier finds himself caught up in Senator McCarthy’s “red scare”, potentially ending his career before it begins. While the subject feels topical – it’s hard not to draw parallels with current events – Cameron doesn’t sacrifice historical context (younger members of the audience seemed a little puzzled, if enthusiastic). This is a solid period drama that makes its points with a firm understanding of the past while allowing us to think about the present day.
Amit Sharma’s confident direction helps. It’s clear he appreciates the strength of the script and he paces it wonderfully. It’s the characters who are the key, and the cast also rises to this quality material. Ivanno Jeremiah does justice to Poitier with a commanding performance. As his character’s admiration for Paul Robeson indicates, it’s good to have a hero. And, like the best heroes, this one has complexity. The will-he-won’t-he signing of a “loyalty oath” is accompanied by moving, tearful anguish from Jeremiah, and his dialect work, with Poitier’s accent slipping at times of stress, is accomplished.
Retrograde is also strong when it considers the industry it is set in. The issues are bigger than TV and Hollywood but wider implications aren’t overplayed. OK, nods to representation aren’t subtle… but they are convincing enough to answer critics who might regard them as a solely contemporary concern. Cameron doesn’t have to work hard to make us believe in the mendacity of the movie business but still does a grand job. And it’s neat that there’s a great role for a writer, the passionate but ineffectual Bobby, whose project Poitier is connected to. A good man but with flaws, and subject to temptation, the performance from Oliver Johnstone brings his qualities out perfectly.
Cameron also knows how a play can benefit from a great villain. And it’s here that he has excelled himself in the form of the play’s lawyer. Stanley Townsend’s Mr Parks comes close to stealing the show, which in itself is a brave move. Parks talks some sense but, as Poitier points out, he is greedy and afraid. He’s easy to hate but we’re allowed to admire him too, since he brings out the joys of a script crammed with brilliant insults. Many are uncomfortably racist, sexist and scatological. But even more are very funny. “As stupid as a soup sandwich” is my favourite, but invective of this standard is a treat. Retrograde, like its subject, is a class act, so well-written and performed that the West End is lucky to have it.
Until 14 June 2025
Photo by Marc Brenner
