“It’s been a huge journey, Seeing me grow as a man and as an artist over the last almost decade has been incredible.” RYAN CALAIS CAMERON
As Retrograde prepares to hit the West End, at the Apollo Theatre in London, ALT sat down with Ryan Calais Cameron to discuss his remarkable journey from aspiring actor to acclaimed writer and director. We talked about his evolution as a storyteller, his desire to change the narratives being told, and the themes explored in Retrograde, such as censorship and integrity. Ryan reflects, “I think integrity is the biggest thing that I really wanted to speak about through the character of Sidney Poitier.” He also touches on the honour of working with executive producer Hollywood actor/ producer Colman Domingo, who believed in his vision and supported him every step of the way.
Reflecting on his journey, Ryan shares how his work grew out of frustration with the limitations placed on actors. “I was about two or three plays in before I ever considered myself a writer. I was like, you don’t just take two pictures and become a model,” he notes. Representation is a key part of his creative vision, with stories that reflect both his personal experiences and the communities that have shaped him.
Looking back at his early work, Ryan recalls how his first major production, Timbuktu at the Bush Theatre in 2016, set the stage for his current success. His other notable plays include For Black Boys Who Have Considered Suicide When the Hue Gets Too Heavy (2021) and Dysphoria (2020), which have garnered critical acclaim for their raw and powerful storytelling. On TV, Ryan’s credits include the highly praised Queenie (2022), further cementing his versatility as a writer across both stage and screen.
About the play: Running Time 90mins no interval
Following its sold out run at the Kiln Theatre, Ryan Calais Cameron‘s ’electrifying’ (Evening Standard) Retrograde comes to the Apollo Theatre for a strictly limited run.
Ten years before he becomes the first Black man to win the Oscar for Best Actor, this gripping drama captures the moment a young Sidney Poitier prepares to sign a career-defining Hollywood contract that could make him a star. But there’s a catch. Will he put his career before his principles? In a time of betrayals, will he name names? Will he sign his life away?
ALT has teamed up with Nimax Theatres to offer TWO tickets for Retrograde which opens at the Apollo Theatre on the 8th of March. More details below.
ALT A REVIEW:
From your time with Timbuktu at the Bush Theatre in 2016 to now, how does it feel to be here, knowing that this is not your first West End transfer?
RYAN:
I’m always in awe of everything that’s happening in my career and the things happening around me. As a young man who dreamed of finding a place for himself in an industry that’s not always as collaborative or welcoming, this is an incredible achievement. It’s been a huge journey, watching myself grow as a person and as an artist over the past almost decade.
ALT A REVIEW:
I have to go back a bit further—was this the dream? Who was the 9-year-old Ryan who became this amazing writer?
RYAN:
I’ve always had a huge imagination and considered myself a daydreamer. If you look at any school report I ever had, it would say, “Ryan isn’t focusing, his head is in the clouds.” My biggest dream as a kid was to be an actor. I never really considered writing. A lot of my writing came out of frustration. I wanted to see a change in the work available for actors. I was about two or three plays in before I considered myself a writer. I didn’t think you could just write one play and call yourself a writer—like you don’t just take two pictures and become a model. So, it took me time to reach the point where I felt confident claiming that title.
ALT A REVIEW:
You once said, “Your job is to tell the stories of our time.” Can you elaborate on that and what kind of stories do you like to tell, especially in this time of so much change?
RYAN:
Yes, that quote from Nina Simone has stuck with me throughout my career. For me, it’s my form of venting and activism. I get to express everything that’s on my chest. The stories I tell evolve as I age and progress in my career. As my economic situation changes, the stories I feel compelled to tell shift, but they’re always about what’s pressing in the news, in art, in culture. As an artist, I feel a responsibility to address those issues. They’ll always find their way onto a page or a stage.
ALT A REVIEW:
So, we’re talking about things in popular culture, the news, politics—Retrograde has themes around censorship. Can you talk a little about that and what you wanted to convey to the audience?
RYAN:
I’m glad you picked up on the themes of censorship and integrity in Retrograde. For me, integrity is the core of what I wanted to explore through Sidney Poitier’s (Ivanno Jeremiah) character. I wanted to ask: at what point do we say we can’t compromise anymore? How far are we willing to go, and how much does integrity matter to us? Sidney is offered this golden ticket, and we see what he’s willing to sacrifice for it. It’s about questioning the line between compromise and staying true to yourself.
ALT A REVIEW:
That leads me to ask—where do we meet Sidney in his life in Retrograde?
RYAN:
By the time Retrograde begins, it’s 10 years before Sidney wins his Oscar. He’s still a young man, not yet the Sidney Poitier we know and love. He’s standing on the brink of what could be the biggest opportunity of his life, but that success comes with consequences and sacrifice. We see him go through a transformation, literally in the space of 90 minutes, from boy to man. We witness what he gives up and endures to make that transition.
ALT A REVIEW:
On a personal level, what has this journey been like for you? The highs and the lows? Now, you’re a public figure, with your plays on the West End. What are some of the pressures and joys? And any advice for others in your shoes?
RYAN:
I never think I have advice for anyone, honestly. I still feel like a small boy in all of this. But for me, the hardest part has been going from the background to the spotlight. Writing can be one of the loneliest jobs. I used to go to my plays, sit in the crowd, and no one knew I was the writer. I liked that. But things changed with For Black Boys, and now, I’m more public. It’s about managing when I’m out and when I’m not. Mental health is key in this space. You have to be in control of what you share and what you keep private. And it’s okay to say, “I don’t want to go out tonight,” or “I can’t talk about this right now.” Take care of your mental health.
ALT A REVIEW:
Let’s talk about Colman Domingo—he’s incredible. I was actually hoping he’d be here instead of you! But is he an executive producer of Retrograde? Can you tell us about working with him?
RYAN:
(Laughs) It’s such an honour when someone co-signs you because they believe in what you’re doing. That’s what happened with Colman. From the very beginning, he was fully invested in the play. He doesn’t usually get involved in everything, but he really felt connected to this one. And that meant a lot to me, especially because Retrograde is set in America and he’s American. I was nervous, wondering how he would respond, but he said it was spot on. To have someone like him put his arm around me and say, “Yeah, I’ll go to war with you on this,” was huge.
ALT A REVIEW:
Is he offering advice, considering his success as a writer and with Broadway?
RYAN:
Oh, absolutely. He gives great advice, especially about putting your ideas out there. What I really value is that he didn’t just attach his name and walk away. He’s actively involved, giving feedback and contributing ideas. He’s a real asset to the project.
ALT A REVIEW:
How does writing for stage differ from writing for screen, or are they similar?
RYAN:
The key difference for me is that on stage, the words are everything. You have to move the audience through dialogue, creating visuals through language. On screen, you have more tools at your disposal—camera tricks, visual effects, and editing—so you don’t have to rely on words alone. When I first started writing for TV, I would get notes saying my scripts were “overwritten” because I’d forgotten that I could let the visuals do the work. In TV, it’s about “show, don’t tell.” But on stage, I don’t have that luxury. My budget is smaller, so I have to be more imaginative with how I tell the story. That’s the biggest difference I’ve found.
ALT A REVIEW:
Speaking of Retrograde, why did you cast Ivanno Jeremiah as Sidney Poitier?
RYAN:
Ivanno is one of a kind. He’s an actor’s actor—the kind of performer a director would grab without hesitation because they know he’ll deliver. He embodies Sidney Poitier in a way that’s not just acting, it’s as if he’s possessed by his spirit. Watching him on stage, you believe every second of it. Ivanno doesn’t play Sidney Poitier; he is Sidney Poitier. That authenticity is essential for a play like this. You have to see it to understand what I mean.
ALT A REVIEW:
Let’s talk about representation. Do you feel fortunate to write stories about people who look like you? And how do you feel about the current push for more diversity and inclusion in the industry?
RYAN:
I feel fortunate to have the career I’ve had so far and the stories I’ve been able to tell. But I’ve never been the type to wait for help or handouts. My community and I started our own company when no one else would produce our work. We kicked down doors instead. It’s not about “Oh, thank you for letting me in.” We worked hard and earned our place. I believe in the community, and I hope that the work we’re doing paves the way for even more people to come through.
ALT A REVIEW:
Final question: What two pieces of advice would you give to someone looking to do what you do—become a writer?
RYAN:
The first piece of advice is: just start. The hardest thing is turning an idea into reality. You’ll get feedback saying it’s terrible, but that first draft is the hardest part. Even if it’s bad, it’s progress. The second piece of advice is: get comfortable with rejection. Learn to make “no” your best friend. There will be times when you’re told no, and it’ll be hard, but you can’t let that stop you. If it’s something you really want to do, you’ll find a way, even if it means self-funding, getting a GoFundMe, or putting it on in a community centre. Don’t give up.
ALT A REVIEW:
Thank you so much, Ryan Calais Cameron, for speaking to ALT A REVIEW
RYAN:
Thank you!
WIN WIN WIN: To win tickets answer the following question by Friday 7th of March 2025 5pm email ( marketing @ alt-africa.com)
Name the play’s full title which includes the words “for Black”.
ALT wants to give tickets those maybe just starting out or maybe can’t afford to go to the theatre; so share with some who might deserve it.
If you can’t wait to win the competition booking is now open CLICK HERE:
Booking
Saturday 8 March – Saturday 14 June, 2025
Tickets from
£20
Prices include a £1.50 restoration levy
Running Time
90mins no interval
Theatre
Apollo Theatre
Ryan Calais Cameron
Author
Amit Sharma
Director
Frankie Bradshaw
Designer
Amy Mae
Lighting
Beth Duke
Sound
Juliet Horsley
Casting Director
Rachael Nanyonjo
Associate Director
