Type – Dramatisation, Subtle, Timeless
If you liked – Sistren (Iolanthe), One Night in Miami… (Kemp Powers), The Mountaintop (Katori Hall)
Retrograde: See it once to witness how brilliant it is, see it again to really understand it.
Sidney Poitier is a name you probably know, and if you don’t, then this play by Ryan Calais Cameron will tell you why you should. Poiter (1927-2022) was the first black actor to win an Oscar. He did so by being who he was. Nevertheless, his career was marred by racism. Poiter starred in influential films, insisting on being portrayed with humanity and not as a stereotypical representation. Racism is a plague that is the shame of our society – Retrograde elaborates in a manner that is digestible to any audience.
Retrograde is a dramatisation of history. It takes place over a very short couple of days in the suite of attorney Parks (Alan Dale). His office sits high in a New York City skyscraper. Sets and costumes by Zoe Rouse emphasise the fashionably smart, clean lines and neutral shades that defined the design in the ‘Golden Age of Hollywood’. It is a space so stylish that I was jealous.
Sitting in the corner is a trolley decked with whisky, which will fuel the night. Dale is a merciless force on stage as the spitting image of what the American establishment sought to preserve. He is cruel but also playful. Dale maneuvers himself into a callous patriarchal physicality that is so representative of the much documented era of Hollywood.
Parks, as a character, is a domineering force throughout this play. He is untouchable in that he can do as he pleases without much accountability. He lives life by fewer rules than most. The careers of many hang on him, and countless actors have signed his contracts, followed by careers that lasted until the end of the century. Parks is a kingmaker of Hollywood despite living on the other side of the country. Emphasising his status, he is known only by his surname, unlike Hollywood director Bobby (Josh McConville) who takes a more progressive approach and strongly desires to be known by the youth. His character is far more relaxed and bubbly. Both are as naïve as each other, expecting their meeting with Poitier to be as transient as a mere formality.
Delaying the entrance of Poitier builds the momentum and raises the blood pressure for the audience. Whilst he makes the impression of shyness, Donné Ngabo is reserved in his indentation. Though Poitier is undoubtedly portrayed as a nervous wreck, it is not conveyed by his body in a manner recognisable to the audience. It takes a scene for us to visualise the full candour of Ngabo. As the confidence of his Poitier builds, Ngabo becomes the domineering force of the room. His voice is loud and his energy takes over the entire stage. An actor playing an actor is a feat in itself, particularly if the actor is known for his dignity and humility – Ngabo is so perfect it becomes uncanny.
The direction of Bert Labonté is exceptional. It is complemented by Rachel Lee and Jethro Woodward’s lighting and sound design. One particularly well put together moment takes place where the set is darkened, and a follow spot illuminates only a corner at the front of the stage, which is now transformed into a television studio. Poitier addresses the audience directly in a state of utter vibrancy. This scene is complete with a retro applause banner.
What makes Cameron’s writing ideal is that it is so subtle, just as the nature of racism which is vastly documented by literature conveying lived experience, and more extensively explored in academic circles. Nevertheless, the wider scope of society has struggled to understand racism outside of blatant vilification. Schools teach segregation as history, but never delve into the ideals under our tongues. The subversive nature of racism is written into the breath of Parks and Bobby, Potier listens. It is uncomfortable to watch, particularly when Poitier is visibly in a state of distress. A particularly poignant moment sees him pick up a pen to sign his contract, his deep tremors seeing audible gasps in the audience.
Is Retrograde Worth Seeing in Melbourne?
The real Sidney Poitier was known as a man who stuck to his principles. His career was fuelled by his desire to play the man he was. The plot of Retrograde is about two little people who sit on either shoulder of Poitier, one being expressing who he wanted him to be, the other who the studios thought he should be. The direction of Bert Labonté emphasises his vulnerabilities whilst in the presence of elitism. Ngabo expresses deep vulnerability in his physicality and confidence in his voice throughout.
This is a play of minute physical detail where even a moment without undivided attention can change how one would perceive the narrative resolution. If you do get the chance, see it twice.
Tickets and Practical Info for RETROGRADE in Melbourne 🎟️
16th May – 27th of June, Fairfax Theatre
Tickets: https://www.mtc.com.au/plays-and-tickets/whats-on/season-2026/retrograde
CAST & CREATIVES
Alan Dale – Mr Parks
Josh McConville – Bobby
Donné Ngabo – Sidney
Bert LaBonté – Director
Zoe Rouse – Set & Costume Designer
Rachel Lee – Lighting Designer
Jethro Woodward – Composer & Sound Designer
Geraldine Cook-Dafner – Voice & Dialect Coach
Lilah Benetti – Assistant Director
Juliette Hirons – Stage Manager
Morgan Clyne – Assistant Stage Manager
