Ryan Calais Cameron has shown what a brilliant young writer he is with this extraordinary three hander that dramatizes a meeting in 1955 Hollywood.
This wonderful play skilfully explores themes of betrayal, integrity and what would you be willing to sacrifice to achieve your dream?
This is Ryan’s second play that has made the transfer to the West End, so please make sure you seek it out as it has a limited run at the Apollo Theatre.
It is set in an NBC office and plays out in real time as Sidney Poitier (Ivanno Jeremiah’s, understudy Brett Curtis) shows up to sign a movie contract. The script of the film has been written by his friend Bobby (Oliver Johnstone) specifically for him and will destine to make him a star, if only Sidney will make compromises asked for by slippery Studio lawyer Mr Parks (Stanley Townsend). Bobby has been manipulated by Parks and moves from being reluctant for his friend to sign to being keen, only to change his mind again as Sidney voices his opposition to being a puppet for other people’s motives.
The entire play takes place in the lawyer’s office where a battle of wills between the three protagonists takes place, with Poitier’s integrity and career on the line. Sidney faces lots of questions of who he is friends with, such as Harry Belafonte and civil rights activist Paul Robeson. Mr Parks asks Poitier to sign a loyalty oath which would mean that he would be publicly denouncing Robeson and everything he stands for. If he refuses it becomes clear that the threat of being blacklisted could become a reality.
This was during the era of McCarthyism where entertainers were shunned by Hollywood if they didn’t call out colleagues that were perceived as communist. Many activists like Robeson were branded with that brush, so Poitier was running a real risk of pariah status if he didn’t toe the line.
Another exchange that is also slightly uncomfortable is when Mr Parks demands Sidney to perform in his original Bahamian accent, seemingly for his personal entertainment.
This production is a slow burner, but the high stakes of what is on the line makes for great drama. The background of the clock ticking as we wait for Sidney’s decision on the contract and loyalty oath is used to great effect.
There are a few monologues from Poitier that are brilliant, and you see his dignity in the face of oppressive coercion and quiet racism. When he finally explodes in outrage, you see how hard it has been for him to keep his emotions and disgust hidden.
When Sidney puts all his integrity into the words “I am angry!” it echoed throughout the theatre.
Other lines that ring true were “Mr Parks, this isn’t a just a movie, it’s a whole movement. Whether you like it or not is irrelevant” and “I am tired of living my life to make white people comfortable”
Those lines are powerful.
While the production covers and dramatizes a specific moment in Hollywood history for a pioneering performer who became the first black actor to win an Oscar, RETROGRADE also highlights issues about the compromises actors of colour often make to gain acceptance in the mainstream media. This remains a problem for the entertainment industry 75 years later.
Brett Curtis, usually the understudy, was making his West End Debut as Poitier and you would never believe he has had to play second fiddle to anyone. He was brilliant, with just the right amount of dignity and outrage bubbling beneath the surface. Oliver Johnstone who played Bobby was very moving and you could feel his dilemma when he said to Sidney that, “we are just men that must provide for our families”.
Given the serious and poignant subject matter, there were a few funny lines which balanced it out and gave some light relief. It’s the dialogue though that makes this show, and it was moving, sharp, witty and angry. That’s down to Cameron’s writing, which stands above most other playwrights working today.
As I have said elsewhere, it’s great there are still original dramas being written for the stage and backers willing to have a punt on creating something meaningful, rather than the endless musicals or remakes that make up much of West End fare.
This is a great production that is not like anything else I have seen this year.
Hooray for that!!