Retrograde at Apollo Theatre: A Sidney Poitier Story for Our Times

I went to watch Retrograde at Apollo Theatre** the day after seeing the blockbuster movie Sinners at the cinema. This felt like synchronicity as, in many ways, the two storylines are in conversation with each other. At least when it comes to the themes of race, cultural extraction, conspiracy, deception and redemption.

Set two decades apart, the characters in Retrograde and the characters in Sinners are still grappling with the same imbalances of power, the same issues of who belongs where and how, the same issues that plague Western societies close to half a century later. There are no physical vampires in Retrograde but there are monsters at large. And there is a force that wants to suck the light out of the hero, offering him glory in exchange for his soul.

The drama opens in the offices of NBC where hungry young screenwriter Bobby (Oliver Johnstone) is with lawyer Mr Parks (Stanley Townsend) waiting for a bright new talent to sign a potentially life-changing contract. That talent is Sidney Poitier (Ivanno Jeremiah) who has appeared in a few standout roles but has yet to make his Hollywood breakthrough. Before Sidney arrives, we get a sense of Mr Parks’ prejudice — e.g. he describes Sidney as ‘not Harry Belafonte black but black black’ — and also that this meeting might not go as smoothly as planned.

At first the atmosphere is jovial as Mr Parks pours drinks and tries to get the ‘stuffed shirt’ young actor to lighten up. They share anecdotes and we learn about Sidney’s journey as a teenage immigrant from the Bahamas who stumbled into acting out of sheer bravura. However, there’s an underlying tension in the room that keeps the audience on edge. Once Bobby exits and Mr Parks reveals his true motives to Sidney, that tension builds into an explosive climax. For the contract he wants Sidney to sign could make him a star, but it could also destroy an African American legend. 

Retrograde is a stunning work of theatre by the brilliant Ryan Calais Cameron who also wrote the masterpiece, For Black Boys Who Have Considered Suicide (When the Hue Gets Too Heavy). Retrograde brings the ‘Golden Age’ of Hollywood sharply into focus, from the evocative sound effects to the vintage set design. I particularly liked the oversized clock at the back of the room that not only acts as a ‘ticking clock’ metaphor for Sidney’s choice but also resembles a giant eye — giving the impression that ‘Big Brother’ is watching us all.

The backdrop of McCarthyism and its intersection with racism and antisemitism seems way too relatable with everything going on in Trump’s America. Yet what’s masterful about Retrograde is that you don’t need any political or personal insight to feel like you have skin in the game. You could walk into that theatre from any country, any planet even, and be gripped instantly by the whip-smart dialogue and shifting dynamics between the three leads.

Every actor is outstanding, matching each other’s energy like a musical ensemble. But I have to single out Ivanno Jeremiah who is electric as Sidney Poitier. He manages to capture the actor’s grace and charisma, as well as the power and pain that simmers beneath his buttoned down persona. The setting feels intimate at first, becoming more claustrophobic towards the finale. At the crux of the drama, my whole body was taut with anticipation. The woman behind me couldn’t hold back and kept muttering: ‘Don’t sign it, don’t sign it!’

But what does Sidney do?

You’ll have to see Retrograde to find out. Seriously, don’t sleep on this play. I urge you to go and watch it and please watch Sinners too. Then let’s talk about Black creativity and resistance against extraction and erasure. A tale of two dramas, a story of our times.

Retrograde is playing at Apollo Theatre, Shaftesbury Avenue, W1D 7EZ (Piccadilly Circus tube). Recommended for ages 14+ (content warning for explicit language, racial slurs, racism, McCarthyism). Performances at 2.30pm & 7.30pm (Wed-Sat), 2pm & 7pm (Sun) or 2.30pm (Wed & Sat matinees). Tickets from £20 + booking fees, running time 90 minutes (no interval) (until June 14)

**complimentary press tickets, all opinions are my own