Retrograde

Retrograde tells the gripping story of Sidney Poitier facing a pivotal moment early in his Hollywood career, caught between personal integrity and the pressures of a racially prejudiced industry. It's part biopic and part existential “will he, won’t he” dilemma—all framed in a single room that somehow manages to feel as tense as a ticking bomb.

The direction by Amit Sharma was largely excellent—every movement on stage felt deliberate, like a game of chess where each piece knew its job. However, when it came to the play’s emotional climax, the impact didn’t quite land. Like a dramatic drumroll that ends in... jazz hands. Also, the choice to have Sidney come back on stage at the end felt unnecessary, like when someone says goodbye and then realizes they forgot their keys—awkward and best left out.

Frankie Bradshaw's set and costumes were an absolute win. The set was simple but transported us straight to the 1950s, without needing to slap us with a giant "You Are Now In The Past" sign. The costumes were practical yet elegant, like if a pencil skirt and a power suit had a baby raised on style and subtlety. Clearly, every detail was crafted with care.

Lighting design by Amy Mae was quietly genius. It didn’t need to do much—like a good supporting actor, it just enhanced everything around it. The pre-show use of color added a nice little mood boost, like the theatrical version of setting the vibe with a playlist.

Sound design by Beth Duke mostly stayed in the background, except for those pre-show car horns, which were... confusing. I spent a solid minute thinking we were about to be evacuated. It was less "New York City traffic" and more "is the fire alarm low on batteries?"

The script by Ryan Calais Cameron had moments of sharp wit and thoughtful reflection. There’s a lot of humor, which is crucial in a play dealing with such heavy themes. That said, some of the emotional beats didn’t hit as hard as they could have. The dramatic peaks sometimes felt more like gentle inclines.

Ivanno Jeremiah as Sidney was a strong anchor to the production. He looked and sounded like the man himself, with a commanding presence. However, I wanted just a bit more emotional vulnerability leading up to the climax of the play. Something gradual breaking through the calm exterior. Just one tear, a twitch, a blink that screams “inner turmoil,” you know?

Oliver Johnstone as Bobby was a comedic highlight. This character was clearly juggling loyalty, pressure, and a desperate desire for things not to spiral—and somehow still managed to land most of the show’s laughs. It felt like watching a man trying to keep a cake from collapsing while someone keeps adding layers.

And finally, Stanley Townsend as Mr Parks gave a beautifully layered performance. At first, he’s your classic old-school man, stubbornly clinging to a worldview that's slipping away. But just when you think he’s a relic, there’s a flicker—something subtle that makes you wonder if he knows more than he lets on. A mystery wrapped in a three-piece suit.

In summary, Retrograde is a smart, well-crafted play that tackles big themes with style, humor, and a powerful story at its core. While a few elements could’ve landed more solidly, the design, performances, and thoughtful pacing make it a strong, memorable experience.

Retrograde currently plays at the Apollo Theatre until the 14th June. You can purchase tickets here: https://theapollotheatre.co.uk/tickets/retrograde/