Noughts & Crosses. Derby Theatre

Malorie Blackman’s novel Noughts & Crosses is a staple in many UK schools, and as a former English teacher I have had the joy of both reading and teaching it many times. In fact, I would go as far as to say that it is one of my favourite novels for young people. It goes without saying that I was excited to see this stage adaptation by Sabrina Mahfouz at Derby Theatre.

I have to admit, however, that I am quite conflicted in writing this review and giving just one overall star rating. The production value is excellent, but I take issue with the adaptation itself. Based loosely on Shakespeare’s Romeo and Juliet, Blackman’s award-winning novel tells the story of “Cross” Sephy and “nought” Callum, two young people whose friendship and love are tested by the deeply ingrained racist attitudes of their society.

Blackman originally conceived the novel as a way to confront racism by reversing racial power structures. As she later explained, “Racism maims and racism kills. I wanted to show that. I wasn’t going to shy away from that.” However, central to the novel is also the “star-cross’d” love between Sephy and Callum. It is the development of this relationship that I feel is rushed and under developed from the adaptation.

In taking a sizeable 496-page novel and trimming it down to fit a running time of 140 minutes (including a much-needed 20-minute interval), it is inevitable that much of the content will be lost. Because of this, at times the narrative feels rushed and disjointed as we lurch from one tragedy to the next. Significantly, in my view, the lighter moments that give relief from the tension and hatred portrayed on stage have also been lost. What we are therefore left with is a gritty, heavy and oppressive atmosphere with very little respite. This production is, at times, hard going.

That said, my personal reservations about the adaptation should not detract from the craft of the production itself. What the cast and creative team achieve with the material they have been given is, in many respects, impressive.

Director Esther Richardson keeps the production moving at an impressive pace, which is no small feat given the number of locations and the scale of the story being told. The staging is fluid and economical, allowing scenes to transition quickly without losing momentum. The use of physical theatre helps maintain this pace and reinforces the emotional intensity of the narrative.

The set, designed by Simon Kenny, is simple, which aids the fast transitions and the many different locations required by the production. Yet it also makes the stage feel even more oppressive and claustrophobic. Made up of 42 panes which open out as drawers, cupboards, windows and doors, the set provides an adaptability that keeps the narrative moving. I also love how the set is used to depict Lynette as outside the main narrative (even if I feel that her character arc is underdeveloped and therefore lacks the emotional punch of the novel).

Lighting by Ben Cowens complements the set beautifully, and the red that pervades the stage for a significant proportion of the running time ensures that the theme of tragedy and death is never far from the audience’s mind. I don’t think I have ever seen an audience quite so still, as if they daren’t move, so immersed were they in the production. The symmetry between lighting and set design clearly played a large role in creating this feeling in the auditorium.

The videography (Si Cole) and sound design (Arun Ghosh and Xana) also add immensely to this sense of immersion. Videography can sometimes distract from what is happening on stage, but here it enhances the storytelling and, at times, provides important narrative context. Where all of these elements come together is where the production is at its most impressive, with the Dundale shopping centre scene standing out in particular. This is a moment of genuine terror.

Sephy dreams of equality as a fourteen-year-old girl, and Brianna Douglas portrays the innocence of youth with vigour. She presents a highly likeable character, but one who has clearly been shielded from the realities of her society. The post-interval transition, where Sephy has become more jaded, is handled well. Small changes in tone of voice, along with more mature body language and facial expressions, have a significant impact on the audience.

Callum (Lewis Tidy) undergoes a similar character arc, moving from youthful optimism to a more cynical view of the world. Tidy portrays this progression with confidence, and his adeptness in physical theatre is particularly notable.

Melody Adeniran, Daniel Copeland, Fintan Hayeck, Chris Jack, Emma Keele and Elexi Walker make up the rest of this eight-strong cast. Each performer takes on multiple roles, adapting their presence on stage to meet the demands of each character with seeming ease. Simple costume changes provide visual cues for the audience, but it is the actors’ ability to fully inhabit these different roles that deserves particular praise. This is a busy and fast-paced production, and the commitment required is considerable. Trust me — those actors are working hard.

 I leave the auditorium feeling tense – this isn’t a leave the world behind, escapism experience. It is raw emotion, it is hatred and there is little respite. Perhaps in such an uncertain world, I need a little more lightness to my current theatrical experiences. My companion for this production certainly feels the same way as we discuss the production on the way back to our cars. However, we have to appreciate the cast and creatives and their commitment and efforts. Does the performance deserve a bigger audience than the number in the auditorium tonight? Yes! Will you leave feeling uplifted? No. Will you appreciate the craft? Absolutely yes!

Even though the novel is aimed at young people, I would not be recommending this production to the same audience. This is a show for those of us with more experience of the world.

Noughts & Crosses is playing at Derby Theatre until Saturday 14 March.