Depicting a tense negotiation involving just three men, the play introduces us to the history-making African-American actor Sidney Poitier, who is about to sign a contract with NBC lawyer Mr. Larry Parks to star in up-and-coming screenwriter Bobby’s new play. The only catch is, in order to break into the bigtime with a role in this play, Poitier must sign a loyalty oath to commit to the all-important “American-values”, as well as publicly denounce the Civil Rights activist Paul Robeson, or be blacklisted himself. 

All of this takes place in a 1950s office, forming the perfect set for director Amit Sharma’s production. Its simple yet effective design by Frankie Bradshaw enables us to really focus on the action itself without being distracted by anything going on in the background. 

Retrograde is an intense, gripping 90-minute struggle between Sidney Poitier’s own career prospects and the moral obligation to do the right thing. He is blindsided on arrival at Mr. Parks’ office, suddenly finding himself questioned on his affiliation with key campaigners in the Civil Rights movement. 

Prior to Poitier’s arrival at the office, the play takes a while to get going, with the initial scenes only involving Mr. Parks and Bobby and their macho, self-interested views. The second half is much more engaging and fast-paced, as Bobby’s confidence in himself as a highly progressive man (“the blackest white guy you know”) starts to unravel, and the conflict facing Poitier becomes ever-present. You could hear a pin drop at some of the play’s pinnacle moments, as the audience waited with baited breath to see if Poitier really would sign the oath or not.     

Ivanno Jeremiah is excellent as Sidney Poitier, entirely believable and growing in confidence throughout the performance. His initial timid politeness soon gives way to sharp, articulate and emotional outcries in the name of justice against Mr. Parks’ goading and patronising ways. Although it takes a while for him to be pushed to the point of loud, furious response, these scenes are certainly worth the wait, with Jeremiah making the audience feel the anger that Poitier carries, and empathise with his passion for wanting a more just world without a conflict between his career and his principles. 

In contrast, Parks and Bobby are less developed characters but are also played authentically by Stanley Townsend and Oliver Johnstone, respectively. Parks is a textbook racist villain, overbearing and insulting at the best of times, and Townsend plays this role convincingly. Bobby is a bumbling, seemingly well-meaning man, which Johnstone captures perfectly; though he also faces his own struggles with self-interest, the influence and power of Mr Parks, and the need to do the right thing. 

Retrograde is an excellent follow up to a colossal success like For Black Boys, and it certainly plays its part in enhancing Calais Cameron’s reputation as a major writing talent - the opportunity to be reflective and have my thoughts challenged by his work is never lost on me. 

You can book tickets to see Retrograde, here.

Review by Vickie