Review: Noughts and Crosses, Hackney Empire

Noughts & Crosses, written by Malorie Blackman, is the forerunner in a series of books centring on societal inequalities. There are many tough themes, including biases of ethnicity, education and socioeconomic advantage. In depicting these inequities, director Esther Richardson and stage adaptor Sabrina Mahfouz are a powerful combination, condensing complexity into a UK touring production.

Noughts & Crosses is a collaboration between Pilot Theatre and Northern Stage whose commitment to providing thought-provoking theatre, focused upon young people, is evident in the storytelling.    From audience reactions as we traverse the complex modern retelling of Romeo and Juliet, the younger audience members are captivated. We hear their exclamations and laughter, sometimes at inappropriate plot moments, which shows their engagement with both the themes and outcomes.  There is poignancy in audience silence as we gain insights into relationship discord, the impact of alcoholism, and the weight of familial expectations, societal barriers and choked aspirations.   

I truly wanted to love this production, as the original, much valued, book has been the basis of learning for the privileged and visibility for everyone encountering bias across intersectionality.   There is tenderness and power in the original characters: I wanted them to demand attention throughout this production… and I still do.

The depictions of Sephy (Brianna Douglas) and Callum (Lewis Tidy) are somewhat disjointed, lacking flow, dimension and intensity. There are attempts to convey their urgency and pain, but this is largely through raised voices and simple choreography/positioning, which is a pity, given the well-written characters that these individuals are based upon. Similarly, Kamal (Chris Jack) is in a powerful role, both as popular and loathsome politician and dominant father. Jack doesn’t embody this, with unconvincing, curved, diminutive posture and soft speech through much of the production.   Conversely, Elexi Walker is impressive playing Jasmine and in her multiple roles as mother, school child, prison guard and more. Her stage presence is undeniable. She embodies the powerful stance and speech patterns of a prison guard, the bullying, socially advantaged young pupil, and vulnerable, stressed, alcohol imbued mother, with commitment, grace and distinction. Fintan Haydek (Jude) and Melody Adeniran (Minnie) are underutilised. Both bring gravitas and believable characters to this production and their energy and embodiment of each role shows both depth and promise. The entire cast demonstrates the flexibility of a small touring company, with multiplicity of roles and positions throughout.

The set, lighting, sound and videography (Simon Kenny, Ben Cowens, Adam McCready and Si Cole) are creative in their layering of technology and staging. Sound is, however, patchy, with actors often inaudible and ‘TV broadcasts’ out of sync with characters, or too small and quiet to allow full appreciation of the depth of investment in depiction.

In bringing theatrical exposure to young people, there is simplicity in stark staging, direction and characterisation. The fight scenes (Kenan Ali) are well choreographed, drawing gasps from the audience, bringing intensity and palpable threat. However, the overall experience represents a creative workshop rather than a full theatre production. Characters largely lack depth and sensitivity.  

Persistent societal pressures, biases and inequity need addressing; this production opens these conversations. Running at 2 hours 30 minutes, it would benefit from being shorter, with specific, intense, scenes, drawing audience interaction, discourse, curiosity and hopefully change.   

Noughts & Crosses, 25 years on, continues to be searingly relevant. It is essential that biases are exposed and addressed.   “…dreams of living in a world with no more discrimination, no more prejudice, a fair police force, an equal justice system, equality of education, equality of life, a level playing field …” are yet to be realised.

Presented by Pilot Theatre in association with Northern Stage
Written by Malorie Blackman
Adapted by Sabrina Mahfouz
Directed by Esther Richardson
Set design by Simon Kenny
Lighting design by Ben Cowens
Sound design by Adam McCready
Video design by Si Cole
Music and sound by Arun Ghosh and Xana
Associate and movement direction by Xolani Crabtree
Voice coaching by Gurkiran Kaur
Fight direction by Kenan Ali
Intimacy direction by Asha Jennings-Grant
Original video design by Ian William Galloway
Wardrobe supervision by Naomi Daley
Casting direction by Shannon David

Noughts and Crosses runs at Hackney Empire until Thursday 14 May, before performances at the Lyceum Theatre, Sheffield.