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Almost single-handedly, Sidney Poitier changed the presentation of black people in film. His remarkable story is encapsulated into one afternoon by playwright Ryan Calais Cameron in what is a fascinating study of that murky place between standing with integrity and the necessity of compromise. In the 1950s, America was on a journey out of its racist past, but at the same time, it was in the throes of hysteria about the so-called threat of communism. To advance the former agenda, it seems that Poitier might have to buy into the latter, and to sacrifice both some of his principles and some of his friends. It is a moral dilemma that rings universally true, although it may not always be as starkly obvious as it is in this case. The play crackles with tension and the complexity of the ethical situation is presented in a wonderfully nuanced manner. Cameron nicely captures both the sense of time and place, while creating characters who don't fall into easy stereotypes. He also displays an amazing gift for some great dialogue. The interactions between the manipulative entertainment lawyer, Parks, and the ingratiating progressive writer, Bobby, are simply put-down masterclasses. Indeed, as Parks, the world-weary cynic who just wants to get the job done for his television network client, Stanley Townsend is outstanding, while Oliver Johnstone is perfect as the insecure, well-meaning liberal who will sign on to almost any compromise in order to get his script made. Between these two moral poles and very fine performances, Ivanno Jeremiah's Sidney Poitier manages to hold his own in a manner that is absolutely beguiling. He convincingly conveys the presence of an actor who was renowned for his ability to command the audience's attention. Retrograde is an intelligent and topical play which is superbly performed. This is why we go to the theatre.
Rated: ★★★★★
Reviewed by J.C.
Photo by Marc Brenner
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