Malorie Blackman’s Noughts & Crosses, a seminal YA novel exploring race, power, and forbidden love in an alternate dystopia, returns to the stage in a visually arresting but uneven new production at Regent’s Park Open Air Theatre. Adapted by Dominic Cooke and directed by Tinuke Craig, this revival boasts a striking design and moments of real theatrical flair, but struggles to fully land its emotional and political punches.
Set in a world where the racial power dynamic is reversed—Crosses (Black people) hold systemic power over Noughts (white people)—the story follows Sephy (Corinna Brown), a Cross, and Callum (Noah Valentine), a Nought, as their childhood friendship blossoms into a dangerous romance. Their love is tested by a society riven with prejudice, violence, and political unrest, culminating in acts of domestic terrorism and personal tragedy.
Craig’s production is undeniably stylish. Colin Richmond’s set and costume design, paired with Joshua Pharo’s evocative lighting and Max Pappenheim’s immersive soundscape, create a world that feels both contemporary and mythic. DJ Walde’s music is particularly effective, lending a cinematic sweep to the action, while Ingrid Mackinnon’s movement direction ensures the choreographed sequences are slick and impactful.
Valentine delivers a compelling performance as Callum, capturing the character’s vulnerability and growing desperation with nuance. Brown’s Sephy is spirited and sincere, though occasionally underpowered in the more emotionally charged scenes. The supporting cast, however, is less consistent. While some bring energy and clarity, others seem to struggle with the tonal shifts and weighty dialogue, leaving large parts feeling flat.
The adaptation itself is faithful to the novel’s structure but falters in pacing. Act One builds steadily, drawing us into the world and the central relationship. But the second act loses momentum early on, bogged down by exposition and a lack of dramatic tension. The narrative regains some urgency towards the end, but the final scenes feel rushed, denying the story the emotional catharsis it deserves.
Perhaps most intriguingly, the production’s thematic focus feels slightly adrift. While the original novel’s exploration of systemic racism remains potent, the subplot of domestic terrorism seems to take over—an angle that resonates in today’s political climate but risks overshadowing the core love story. The result is a production that feels unsure of its intended audience: too mature in tone and content for younger viewers, yet too simplistic in its characterisation and dialogue to fully satisfy adult theatregoers.
There is much to admire in this Noughts & Crosses; its ambition, its aesthetic, and its lead performances chief among them. But despite the best efforts of this bold and timely revival, the production never quite reconciles its competing themes or finds a consistent emotional rhythm.
