Noughts & Crosses
Set in an alternate world, Noughts & Crosses flips stereotypical racial hierarchies on their head. As Malorie Blackman describes, we have pale-skinned people (Noughts) as a subjugated class, and darker-skinned people (Crosses) as the dominant ruling group. In this universe, Sephy is a Cross and Callum a Nought.
Many compare the story to Romeo and Juliet, but I’d say that beyond shared themes of teenage love, rivalry, and letters, the similarities are quite limited, although a literary scholar might disagree. Worth noting: either the novel or play is part of a GCSE syllabus, so don’t be surprised to see rows of school groups in attendance. As for age suitability, I’m slightly conflicted. Given the themes and scenes involved, I’d recommend it for students aged approximately 14–17 years old.
If you’re a fan of the book or currently studying it, this production is a must-see. I’ve seen other versions that dragged in parts, but under Director Tinuke Craig, this one moves with pace and energy. She finds humour where she can (such as the scene with the plaster and the kiss), and immerses us from the very beginning, with performers running through the aisles. The use of offstage and non-traditional spaces cleverly expands moments and characters that aren’t always fully articulated in the text like Jude skulking.
Corinna Brown gives a strong, emotionally agile performance as Sephy, navigating the character’s evolving age and feelings with skill. The play jumps forward in time frequently, sometimes explicitly, sometimes not which can be confusing, but Brown’s grounded portrayal helps tether us. The look created for her by Wigs, Hair and Make-Up Designer Dominique Hamilton is unique and striking: from afar, it resembles braids ending in bubble puffs, offering flair and individuality.
Opposite Brown is Noah Valentine as Callum. Though Callum’s motivations shift over the course of the play, his demeanour remains mostly pensive and moody. Valentine sustains this tone well, with occasional bursts of joy and lightness. The sex scene between the two was especially well-staged. In the text, they narrate what they’re doing, removing clothes and so forth, but Craig has them deliver most of these lines from a distance, while remaining mostly clothed. This directorial choice somehow adds weight to the moment, making it more powerful and poignant.
Two supporting performances also stood out: Chanel Waddock as Lynette, whose character wrestles with mental illness and body dysmorphia, and Alec Boaden as Jude, who becomes increasingly radicalised. Both actors offered textured, emotionally driven portrayals.
However, this brings me to one of my frustrations. For a story where the Crosses hold power, most of the Cross characters come off as thinly drawn. Aside from Sephy, we see a cheating father, an alcoholic mother (with no animosity between them) and a sister who only appears briefly in the second act. While the performers are solid, these roles don’t allow them to shine in the same way.
I can’t help but wonder how this production might have landed when the adaptation first premiered in 2007. At that time, the racial and segregation themes may have hit harder. In contrast, I recently saw Evita, where a third of the cast was white; representation is increasing on British stages, which is undoubtedly positive. However, this progress can dilute the stark visual impact that this play once had, where segregation was so immediately visible.
Watching this nearly 20 years after the 7/7 bombings, I found the play’s treatment of terrorism and radicalisation underplayed. A contemporary reworking might give more weight to Callum’s path and the ripple effects on his relationships. That said, the explosion scene was impactful in its execution of sound, smoke and slow motion, even if underwritten in the script.
Colin Richmond’s set and costume design creates a brutalist concrete world with multiple levels. While visually striking, some of the designated spaces (marked with light strips) didn’t fully land in the first half, perhaps due to the lighting competing with daylight. At times, actors accidently stepped over or stood next to lines that didn’t quite match the imaginary spaces they were meant to inhabit. Personally, I’d prefer the actors fully own the stage space and allow us to interpret it more freely.
Finally, a rope for hangings hangs above the stage, or rather, it should loom. Instead, it felt tucked away and underused. Given the noose’s loaded symbolism, I would have preferred it to dominate the visual field, a constant foreshadowing.
This show was reviewed on the 8th July 2025 at Regent's Park Open Air Theatre, London where it runs until the 26th July 2025. For tickets visit: Noughts & Crosses | Open Air Theatre
Review written by Valentine Gale-Sides
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Photo credit : Manuel Harlan
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