'Retrograde' review — this gripping West End transfer proves Ryan Calais Cameron is one of theatre's most exciting young talents

Read our review of Retrograde, starring Ivanno Jeremiah as trailblazing Black actor Sidney Poitier, now in performances at the Apollo Theatre to 15 June.

Lightning has struck twice for Ryan Calais Cameron; Retrograde is his second play to transfer and storm the West End in three years. But unlike his poetic debut, For Black Boys Who Have Considered Suicide When the Hue Got Too Heavy, which relied heavily on trains of thoughts and flashes of movement, Retrograde is a naturalistic reimagining of history. Centring on the trailblazing Black actor Sidney Poitier, who is on the verge of getting his big career break in a TV movie, it is a complex, knotty play with zingy, quick-fire dialogue.

The plays are polar opposites in form, but their difference only proves Calais Cameron to be one of theatre's most refreshing and elastic young talents. Set in an NBC office in the 1950s, Retrograde plays out in real time as Poitier arrives to sign the contract for the movie his friend Billy has written for him. Here, he’s greeted by Billy (Oliver Johnstone), a scriptwriter desperate for his time in the limelight, and Mr Parks (Stanley Townsend), a serpentine studio lawyer who is reluctant to see change or progress in America.

Unsurprisingly, everything is not as it seems in the Hollywood mogul’s lair. Soon, Poitier faces questions about his affiliation and friendships with key figures like Harry Belafonte, with Mr Parks demanding that he perform live in a Bajan accent for his entertainment. The whole exchange is uncomfortable and feels like a test. Then, Poitier is asked to sell his soul and sign a loyalty oath, which would mean publicly denouncing the Black activist Paul Robeson, a figure he fiercely admired.

Amit Sharma’s production is a slow-burn conversation. But the high stakes of the drama are always there. In moments of silence, the clock’s tick-tock blares as we wait on a knife edge for Poitier to make his decision. Likewise, Poitier’s smoking of a cigarette feels like it stretches out for an eternity. From the start, we long for him to shout out in rage at the twisted position he’s been put in – but initially, he keeps up an appearance; the knowledge that he is one wrong step away from falling is too great.

Ivanno Jeremiah is a fine choice for Poitier. Tears often form in his eyes’ corners and his unease exists just below his every word. When his outburst finally arrives, it feels like it explodes from deep within him. The words “I am angry” reverberate around the theatre like they’re thunder.

Parks and Bobby are more one-dimensional; by the end, their speeches feel overwrought. Still, the interchange is consistently hysterical – Parks describing Bobby as being "dumb as a soup sandwich" is a personal favourite – and this is a tiny gripe about a play that is otherwise extraordinarily developed. Calais Cameron’s knack for dialogue is far above most other playwrights working today, and Retrograde is fast on its way to becoming another vital and vibrant classic.

Retrograde is at the Apollo Theatre to 15 June. Book Retrograde tickets on LondonTheatre.co.uk

Photo credit: Retrograde (Photos by Marc Brenner)