Noughts and Crosses Review at Hackney Empire London

A deeply provoking stage adaptation of Malorie Blackman’s young adult dystopian political drama kept me on the edge of my seat. With a new life comes new hope – depending on where you are born, actually. What’s your skin colour? Are you a Nought or a Cross? Do you have your own private beach, or are you only allowed milk on Fridays? 

First thing I would like to point out: I did not receive what I was promised – and thank heavens for that. 

Upon checking Noughts and Crosses online, I expected a somewhat soapy young adult love story with a slight racist and political background. Instead, I received an intensely powerful dystopian tragedy set in a world so similar to, and yet so different from, our own. It kept me on the edge of my seat and made me bite my nails. 

We follow Callum and Sephy, who lead us through a world of injustice, radicalism, and systemic oppression. But not in the way history books usually show it. 

Crosses (or Daggers) are in charge, and Noughts (or Blankers – the white people) are the most marginalised group: poor, bullied, without privileges, not even allowed passports, trapped in a system with no way out. 

Somehow, Callum and Sephy become friends. Callum’s mum was Sephy’s family maid, so they grew up next to each other. They regularly meet at her private beach, and we witness their first hug, first kiss, and their attempts to navigate such an unfair world. 

We wouldn’t be talking about a Romeo and Juliet story if there wasn’t tragedy. A bombing leads to multiple Crosses’ deaths and the near-total destruction of Callum’s family – his brother flees, his father is arrested and sentenced to death (later commuted to life imprisonment) for leading a radical terrorist organisation, the Liberation Militia, responsible for the attack. Callum and Sephy’s relationship becomes even more difficult to sustain.  

We also witness many internal monologues that deepen our understanding of the characters. Brianna Douglas and Lewis Tidy are excellent in their portrayals of the leads, and their performances are utterly captivating. I also have to mention Fintan Hayek, who plays Jude – in my opinion, one of the best casting choices I’ve seen in a very long time. 

Simon Kenny‘s set design is extremely minimalistic and futuristic – perfect for this play. The use of screens and basic furniture effectively transports us into this dystopian universe, making the story feel even more raw. The drama, conflict, and emotion are prioritised over spectacle, and the design supports that beautifully. There are no distractions; the audience can fully focus on the action. 

The pacing of Noughts and Crosses feels slightly off. The first act lasts an hour and a half – extremely intense, full of fast-paced scenes and strong emotional and political build-up – while the second act is a 40-minute sprint. 

Some scenes feel so rushed that the audience actually laughs. We understand that the second act starts three years later and spans nine months – roughly the length of a pregnancy – but it feels so much shorter due to the awkward pacing. Even with visible physical changes, the kidnapping, Sephy giving statements, and Callum’s time in prison, everything feels compressed and does not do justice to the intensity of the first act. 

It is a wonderful, thought-provoking play, and the romance is only a background element to this dystopian tragedy. It exists within the plot but does not overwhelm it, nor does it make the story sentimental. 

Noughts and Crosses is a deliberately crafted play that leaves you in awe and raises more questions than answers. Would I see it again? Definitely. 

The society we live in still needs Noughts and Crosses –  it feels uncomfortably familiar. Sadly, we still live in a world shaped by race, social status, and politics. Does it predict the future? Hopefully not. I believe that one day, colour will not matter, and opportunities will be equal for all. 

Noughts and Crosses plays at Hackney Empire until 14 May.

Where I Sat

I sat in Stalls K16, just by the middle aisle. Seats at Hackney Empire offer reasonable legroom (I am 5’4″) and are fairly wide. The stalls aren’t steeply raked, and of course I had the tallest man in the room sitting in front of me – but thankfully I could shift towards the aisle and still had a perfect view of the stage. 

I would definitely recommend this seat for Noughts and Crosses or any other show at Hackney Empire. Due to the size and shape of the venue, I don’t think there are really any bad seats. 

Have You Seen Noughts and Crosses?

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Reviewed by Aleksandra Zielińska for SeatPlan, May 2026.