Review of ‘Retrograde’: “A dream of a play about a Hollywood nightmare”

Ryan Calais Cameron’s semi-historical play lands on the West End following a first acclaimed run at the Kiln Theatre. Guillermo Nazara shares his views on the show, to let us know if this distressing picture of the real side of Tinseltown brings along too many negatives.

There’s some sort of poetry about the West End opening of a play set during Mccarthy infamous witch hunt – primarily due to his contribution to the London theatre. However cynical that statement may sound, the truth is that his obsessive persecution of ‘anti-American activities’ was a key factor for the cultural richness we enjoy here today – with so many artists moving across the pond in hopes of preserving their liberty to think, something which was no longer granted in the Land of the Free. It was one of those breakouts that gave us the breakthrough of rebuilding Shakespeare’s Globe – and now, a retrospective look into it has blessed us with Retrograde.

Returning to a show you’ve already reviewed is a tricky business – particularly, when you hold fond memories of it. It’s been almost two years since I attended a performance of its origin run at the Kiln Theatre. A lot has changed ever since – I’ve grown up to be bitchier, meaner, hotter (I have a lot of self love). But that comes with the terrible burden of being irresistible. And as for the rest, the inconvenience of becoming more demanding – and irremediably, not having the same feelings for what you used to love back in the day.

Contrary to the ominous time it depicts, Retrograde has aged like fine wine over its transitional period. Inspired by some real events revolving around Hollywood star Sidney Poitier, its narrative resonates with today’s audiences more than ever – which is probably the sole thing we should thank President Trump for. Yet, the significance of its message soars beyond the notion of history repeating itself. And that’s precisely what makes of it such a compelling effort.

Its level of universality is truly remarkable. It portrays a specific situation, but it encapsulates a much broader concept. It depicts the struggles of some, but it speaks to the hearts of everyone – especially those who have been wounded by injustice.

Author Ryan Calais Cameron does an excellent job at letting the dialogue pour the characters’ humanity. Flaunting a sharp pen driven by a gentle hand, its blaring mixture of wit, perceptiveness, and eloquence hones the script to utmost perfection.

Every page is filled with striking depth and truthfulness. No line is crafted without thought, and no thought can be alienated from any line. This galvanizing symbiosis of content and form goes further on through the subtle lyricism of Cameron’s writing – where multiple devices, ranging from metaphors to alliterations, naturally blend into the text while preserving the pungent realness of his style.

Flawlessly structured and carrying the tension with absolute deftness, its 3–piece cast matches the quality of the material to every possible extent. Their exceptional degree of chemistry and rapport solidifies by the minute – in what’s possibly one of the strongest performances London can offer at the moment.

Lead actor Ivanno Jeremiah brings an aura of resilient charm and mystique to the role of Poitier. Yet, the most prominent renditions come from Stanley Townsend and Oliver Johnstone as Mr. Parks and Bobby, respectively – both interpretations exuding electrifying stamina onstage, and delivering their parts with poise, presence, and intricacy in their construction.

Following the trend of putting a spotlight on the actual drama happening backstage, Retrograde takes a step forward by establishing a voice of its own – loud and powerful, and able to reverberate in the souls of everyone who’s willing to listen.

Though lacking some additional complexity to allow its personages to mover further away from their archetypes, the play is still a magnificent achievement concocted with both pathos and philosophy. With an extremely gripping plot exploring the darker spots of Tinseltown, this latest arrival to the mainstream scene serves as a beacon of lights, camera, and action that will surely regale viewers with pure theatrical gold set around the silver screen.

All pictures credit to Marc Brenner.

Retrograde plays at London’s Apollo Theatre until 14 June. Tickets are available on the following link.

By Guillermo Nazara