Noughts and Crosses at the Belgrade

Blackman offers a simple premise in her novel Noughts and Crosses – what would society look like if race relations were reversed. This isn’t some dystopian extreme; just a straightforward look at what it would be like if white people were the ones unable to find plasters that match their skin, or forced to attend separate schools.

Adapted for the stage by Sabrina Mahfouz, the Romeo & Juliet-esque storyline follows childhood friends and star-crossed lovers Seffy (Effie Ansah) and Callum (James Arden), respectively belonging to the wealthy Hadley family – Crosses – and the poor McGregors – Noughts.

Ansah delivers a powerful performance displaying immense emotional growth throughout, developing from the self-assured 14 year old, optimisitically certain that world would be better if only people were nice to each other, to a strong educated woman, still hoping for a better world but more realistic about what it will take to get there.

Arden is superb as Callum, the more cynical counterpart to Seffy’s optimism, starting quietly aspirational and getting gradually beaten down by the strain of a society designed against him and others like him, examining the crossroads of class and race. Directed by Esther Richardson, the pair radiate on stage, passion exuding and infecting the audience as the duo attempts to rectify the injustices in the world.

It’s a lot to condense into a two hour performance, but Mahfouz streamlines it well while keeping true to the original. Of course, it is near impossible to include all the details within a novel, and some nuance is erased; especially around Callum’s character – you can follow the logic of how a disenfranchised kid could become bitter enough to join the Noughts militia but it doesn’t entirely compute on an emotional level. The militia itself can also come across as unsympathetic – more EDL than righteous Black Pather movement.

Simon Kenny’s costume design invites familiarity with outfits you may see on any highstreet, while his set is more abstract allowing the acting to really shine through. Illuminated red blocks create an ominous atmosphere, complementing the foreboding lights and soundscapes. Multiple TV screens embedded in the background do an excellent job of connecting the story to historical reality.

It is somewhat unfortunate that Blackman’s 17-year-old novel is still relevant today but it is fortunate that Pilot Theatre continues to bring this thought-provoking narrative to new audiences, particularly the school-aged who are# not shy in expressing their appreciation with a standing ovation.
It’s no surprise that such a poignant tale is winner of six book awards and ranked 88th in The Guardian’s Best Books of the 21st Century, and this production continues to resonate.

Noughts and Crosses UK tour continues until April 2023, https://www.pilot-theatre.com/past-work/noughts-crosses

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