Retrograde in the West End – review

Death, taxes and Ryan Calais Cameron delivering another outstanding play, some things in life are just guaranteed. His latest work, Retrograde, is no exception, an electrifying, razor-sharp piece that cements his place as one of the most vital voices in theatre today.

Told over the span of one hotly intense morning, when a young Sidney Poitier steps into the offices of NBC to sign a movie contract, he soon realises that this opportunity of a lifetime comes at a price. The intense three-hander barrels through 90 minutes, tearing into the seedy underworld of film and television, race, masculinity, and the dark politics of McCarthyism.

Under the sure hand of Amit Sharma, the direction is faultless. The energy bounced around by Sidney Poitier (played by Ivanno Jeremiah), Bobby (Oliver Johnstone) and Mr Parks (played by Stanley Townsend) is unrelenting and razor-sharp. Balancing precision with fluidity, every movement feels intentional and emotionally charged. Even throughout the comedy, there is an upset that hovers over the stage and a fear that something is about to go very wrong.

When you have superb actors, the pacing feels seamless. Jeremiah, Townsend, and Johnstone are made for the stage; this is an ensemble operating at its peak. Each actor commanding the stage with such ferocious talent that singling out a standout feels impossible. The chemistry crackles and they make the stage feel like the only place they were ever meant to be. The voices! For 90 minutes, the audience is transported to the origins of Hollywood (voice coach Hazel Holder), the intonation and the delivery of the voice acting on stage will make you feel like you are watching an old black-and-white film.

Whilst the talent is undeniable, the stage lighting (designed by Amy Mae) and set and costume design (Frankie Bradshaw) pull everything together and we are submerged into the paranoia-drenched world of the 1950s McCarthy-era America. Every shadowy silhouette and period-perfect tailoring contributes to an atmosphere saturated with tension. The clever use of sound (designed by Beth Duke), subtly interjected throughout, anchors the play in its time whilst keeping it eerily relevant. Retrograde is claustrophobic and tight. One particular highly charged scene stands out when a champagne cork is popped and visible jumps are sprinkled throughout the auditorium.

Calais Cameron consistently shows up as a writing force to be reckoned with. The acerbic one-liners, the comedy underpinned by threat, and the witty playwriting not only captivates, but also confronts and challenges the audience to address their own societal blind spots. His status as a trailblazing voice in contemporary theatre echoes Poitier’s own groundbreaking journey.