Noughts and Crosses | Regent's Park Open Air Theatre

Malorie Blackman's seminal novel is thrillingly brought to life by a gritty and unflinching production by Tinuke Craig, and while the pacing and structure is weak in this uneven adaptation by Dominic Crooke, terrific performances steady the piece into a worthy watch - albeit weaker than the book.

Set in a race-reversed world in which 'crosses' hold all the power and the minority 'noughts' face discrimination and hatred, Blackman's original novel is a phenomenal piece of world building. The piece has all the traits of a dystopian work, yet it feels betraying to label it as such: this world of noughts and crosses feels all too familiar, and the clear comparisons to our own world cut deep. It's hardly a subtle allegory, yet the nuance it brings to the conversation is provocative: we're challenged on the nature of a terrorist - or freedom fighter - yet pushed to feel little pity to the violent actions of the noughts. Questions of if terroristic violence is justified against decades of systematic abuse feel far too familiar for comfort, and Blackman rightfully provides no clear answer.

While Blackman's messaging is strong, the piece, adapted by Cooke, does struggle at times in functioning as a play. Where act 1 builds momentum in its thrilling pace and movement, act 2 seemingly stalls, repeating story beats, motions and revelations for characters that leaves a murky structure, and a previously hurtling piece with no energy. Frequent time skips and short scenes leave one unable to immerse within powerful moments, and while one can appreciate the bigger picture, it's a show that clearly tries to squeeze in the novel at the expense of dramatic structure.

As a production however, Regent's Park's fresh production is absolutely stunning. The set design by Colin Richmond is intimidating and powerful, making fantastic vertical use of the open air setting, and the score by DJ Walde is dominating, vibrating the air with bass-y rumbles and ethereal winds. As always, lighting is a challenge at the open air venue, yet Joshua Pharo navigates this strongly, with the daylight bringing a confrontational naturalism to the first act, while the darkness of the ending feels suffocated by the black sky above. 

The strongest element though is the performances, the two highlights being Corinna Brown as Sephy, and Kate Kordel as Meggie. Brown captures a youthful innocence that develops into a strong-headed yet conflicted characterisation. For all the focus on the noughts and their struggles, it's Sephy's story, and Brown anchors the production with tremendous ease. Kordel, on the other hand, features less prominently, yet delivers a masterclass in grief, trauma and sorrow. It's not an easy watch, but Meggie's descent from loving wife to despairing victim is harrowing in the most impactful way.

While Noughts and Crosses might not succeed entirely in play form, Blackman's original material is so strong and provocative that its strengths still shine through. From its unflinching depictions of traumatising events - and one ought to check the content warnings if unsure - to its firm realism in its performances, it's a play that feels necessary for now, and provides a much needed challenge for its audience.

Noughts and Crosses plays at Regent's Park Open Air Theatre until 26th July 2025.

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★★★☆☆ (3*)

Gifted tickets in return for an honest review | Photography by Manuel Harlan