By Nick Pilgrim
If the name, Sidney Poitier (1927 – 2022), isn’t a familiar one, it should be. The late actor is known for fronting iconic motion pictures like The Defiant Ones (1958), Lillies of the Field (1963), A Patch of Blue (1965), To Sir, with Love, Guess Who’s Coming to Dinner, and In the Heat of the Night (all 1967).
In a career spanning more than five decades, Poitier was blessed with a formidable speaking voice and polished screen presence. He also helped push Afro – American representation on film and television away from traditional stereotypes such as slaves, servants or hired help.
Further to his serious leading man status, Poitier also tried his hand at directing. Uptown Saturday Night (1974) and Stir Crazy (1980) showcased Poitier’s brilliant knack for comedy as well.
Showered with awards and accolades, his achievements are too numerous to count. However, it is staggering to learn how Poitier’s early career walked a dangerous knife-edge.
Penned by Ryan Calais Cameron, Retrograde captures a pivotal moment which altered the actor’s professional trajectory for good.
Told in real time at a running time of ninety minutes, this gripping three-hander details a tense contractual negotiation between Poitier (Donné Ngabo), his close friend brought for support (Josh McConville), and the lawyer (Alan Dale) in charge of setting up a new television deal.
As a backstory to the piece, mid-century USA was a country on the cusp of upheaval. Mass entertainment was still reeling from Senator Joseph McCarthy’s bulldozing tactics to weed out Communism. His House of Un-American Activities Committee targeted major names like Charlie Chaplin, John Garfield and Paul Robeson. Their marquee value permanently suffered because of McCarthy’s attack.
Furthermore, milestones such as The Montgomery Bus Boycott (1955) and The Little Rock Nine (1957) became major turning points for revising civil rights.
In essence, Retrograde aligns both historical timelines together as one.
A fascinating case study highlighting the art of the deal, this is a fly on the wall treatment from the get-go. Like Hurlyburly (1984) by David Rabe or I’ll Eat You Last: A Chat with Sue Mengers (2013) by Josh Logan, Retrograde is show business at its most cynical, grubby and thought-provoking.
Dripping with period detail, slick set and costume design (by Zoe Rouse), strong lighting (by Rachel Lee) and sound composition (by Jethro Woodward) don’t hide the fact that Retrograde views high-powered executives as an amoral bunch. Where there was a dollar to be made, commercial film companies and television studios did everything to keep the money rolling in while maintaining public interest.
The play’s key moment is whether Poitier is prepared or not to sign a loyalty agreement. In short, this paperwork demanded that the actor denounce long-time associates such as Robeson and Harry Bellafonte, while whitewashing his own value beliefs in the process.
The ultimate question applied to anyone facing similar circumstances, is how much are we prepared to sacrifice to get what we want?
Keeping viewers’ attention for the show’s full length, Bert LaBonté directs with pinpoint precision. Assisted by Lilah Benetti, together they create an unforgettable experience fused with passion and purpose.
As Poitier, newcomer, Ngabo, will be a name to remember. His uncanny interpretation keeps our focus; you simply cannot take your eyes off him. How he incorporates the actor’s trademark speech patterns and movement into his performance, is alone worth the price of admission.
Veterans McConville (as Bobby) and Dale (as the ironically named Larry Parks) are every bit Ngabo’s match. So much more than acting, the trio spar and parry non-stop as if their very lives depend on it. Combining forces, they make Retrograde veritable lightning in a bottle. Think Mad Men (2007 – 2015) meets The Offer (2022) and you’ll get the idea.
Outstanding creative support is rounded out by Geraldine Cook-Dafner (voice and dialect coaching), Juliette Hirons (stage management), Morgan Clyne (assistant stage management), and Charlotte Fischer (stage management secondment).
Playing for a strictly-limited season until June 27 at the Arts Centre Melbourne – Fairfax Studio, Retrograde is an excellent example of creative vision, scripted words and acting talent owning the same performance space.
Image:Sarah Walker
