A bold reintroduction to the subversive and radical world of Noughts and Crosses.
In 2001 Malorie Blackman’s novel ‘Noughts and Crosses’ was published, proceeding a series of novels, the 2016 BBC series, Dominic Cooke’s stage adaptation and a second adaptation by Sabrina Mahfouz. First debuting at the Royal Shakespeare Company, Regents Park’s Open Air Theatre revives Cooke’s adaptation this summer, reintroducing us to an alternative 21st Century United Kingdom, whereby the country is bound by racial segregation. The most identifiable detail of Blackman’s exploration of race is that she depicts the UK whereby Noughts (the white characters) suffer the oppression and racism of segregation and Crosses (the black characters) benefit from privilege and freedom by their race.
The show is completely relevant and necessary to play at the Open Air. Since it’s original adaptation, the UK has evolved and the narratives within black stories in theatre have changed. The production reminds me of Jeremy O Harris’ staging of ‘Slave Play’ last summer, in it’s subverting storytelling. However, this is a much more digestible production for audience members. There is something exciting about taking topics such as race and turning them on their head, as a way of exploring and dissecting. It feels fresh, provocative and slightly naughty.
This is a testament to Blackman’s novel, of course, being extremely ahead of it’s time but also to Tinuke Craig for understanding the relevance and opportunity that a story like this could bring in 2025. Craig builds a clear and fantastic world right off the bat. The scale feels large and dangerous. Certain scenes take the audience to extremely intense places. Without spoiling the plot, there are large communal moments were character’s lives are at risk. Craig uses the amphitheatre to bring in the audience, we are suddenly part of this world and it feels like the characters are facing the consequences of our actions. This follows through terrifically to the end of the show, where the show climaxes as the auditorium fills with the darkness of the open air. It lends itself perfectly.
Corrina Brown and Noah Valentine give great performances as the play’s leads, Callum and Sephy. We spend a lot of time with them and their chemistry really gives their story pay off. This does slightly take away from some of the smaller roles who I felt could’ve opened up the world slightly. Alec Boaden understands his violent and extremist role entirely, bringing great clarity. Helena Pipe makes a strong impression every time she enters stage. Elle Davies shows fantastic skill in her contrasting roles throughout the play, expanding the complex lives of the Noughts within this world. Another stand out performance was Chanel Waddok, she has a tough role as Callum’s sister, Lynette, experiencing a break down for the entirety of her arch. She is convincing and dedicated to playing the truth of Lynette.
Noughts and Crosses is a fast but dense production, charioted by consistently strong performances and bold direction. The cast and creatives understand the story and facilitate it perfectly to the audience at Regents Park.