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The Pride

Critics' choice
1/3
© Mark Brenner

Hayley Atwell (Sylvia) and Harry Hadden-Paton (Philip)

2/3
© Mark Brenner

Al Weaver and Mathew Horne

3/3
© Mark Brenner

Mathew Horne and Al Weaver

You can say what you like about Vladimir Putin (well, unless you live in Russia), but the Kremlin strongman’s repellent clampdown on gay rights seems to have galvanised a London theatre scene that’s been surprisingly wary of political shows of late.

There are two rapid response plays coming up on the fringe (at the King’s Head and Ovalhouse). And here, at Trafalgar Studios, the curtain call of ‘The Pride’ features all four cast members mishievously brandishing ‘to Russia with Love’ placards, a gesture that gives a final push and sense of purpose to this revival of Alexi Kaye Campbell’s 2008 Royal Court hit.

Set in both 1958 and 2008, ‘The Pride’ sees what appears to be the same love triangle play out in two very different eras. In 1958, closeted married man Philip (Harry Hadden-Paton) grapples violently with his feelings for writer Oliver (Al Weaver), while his fragile wife Sylvia (Hayley Atwell) looks on in impotent despair. And in 2008, the three seem to have been given their time again in a more liberated age… Yet they’re not happy – promiscuous journalist Oliver has fucked up his relationship with straight-laced Philip, and Oliver’s chronic neediness is seriously bringing his BFF Sylvia down.

‘The Pride’ is a probing, troubled and often brilliant play about gay identity which delves into the agonies of the past, celebrates the progress of the intervening years, and remains ambivalent about certain facets of contemporary gay culture: 2008 Oliver frequently comes across as a self-absorbed twerp, and there’s nothing to celebrate in his heedless promiscuity.

The three doubled-up cast members are all excellent, particularly Atwell (desperately decent and delicate in the past, warm and dappy in the present) and Weaver (heartbreakingly vulnerable and earnest in ’58, kind of an idiot in ’08).

Jamie Lloyd’s production is also stylish, zippy and surprisingly funny – for which a lot of the credit must go to Mathew Horne, who excels in a series of comic cameos, most memorably as a bitchy Nazi-imitator dominatrix.

Horne's amusing turn as a lads’ mag editor feels like one of several details that slightly dates the ’08 storyline; elsewhere Lloyd allows the ’58 plot to get a little overwrought, while I was wasn’t sold on the sub-‘Cloud Atlas’ hint of a cosmic link between the two eras (though it gives an excuse for Soutra Gilmour’s cool tarnished mirror set).

Still, the writing is strong, the acting brilliant, and direction mostly sharp with any slight datedness compensated for by that cheeky kiss-off to Russia.

By Andrzej Lukowski

Average User Rating

4.3 / 5

Rating Breakdown

  • 5 star:3
  • 4 star:4
  • 3 star:1
  • 2 star:0
  • 1 star:0
LiveReviews|8
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GEORGIOS SPILIOPOULOS

Very good play. Well written and amazing performance by Hayley Atwell. The direction was fresh and innovative with a film breeze, with excellent past moments and amazing scene "mixing". Highlights also if the performance were the amazing and precise lighting design and the music and sound design. Congats! Definitely not to be missed.

Pip Dunjay

Hayley Atwell is certainly excellent in this - a wonderful comic actor too - and the cast are great. The cruel rejection scene of the past and the confrontation between wife and lover have some great moments. And the comic Nazi scene is golden. However, for a love that has been so tragically repressed in the past, and is still under attack today, I didn't really feel a lot for this play. I didn't feel the secrecy or the guilt or the struggle or the love. Maybe if the characters had been a little more explored, there would have been more of an emotional pay-off. I teared up at the Russia signs at the end more than any of the emotional moments of the play. Still worth seeing.

James

Many extended moments when you could hear a pin drop in the theatre - superb performance by a cast who work so closely with each other, flipping between seemingly contrasting eras with impressive ease and coherence. Memorable and thought-provoking - a must-see

Benita

Beautiful and humorous performance portraying the highs and lows of love and relationships, whether straight, gay or anything else. Invisible, spellbinding acting that will take your breath away. I left the venue with an amazing feel-good state of mind. Fascinating scenography that plays on silhouettes and reflection, as well as simplistic and playful labyrinth-like architecture. Brilliant use of a relatively small-sized stage. All in all a magnificent show that should not be missed. Highly recommended :)

miha

I visited this performance this weekend. I didnt know what to expect but it realy impressed me! It is very realistic and touchable. It let me know some things about gay people that i didnt know before. I higly recommend it. To all!

Leo

Touching, authentic, brave - in a personal, social and political sense. Relevant as ever.

Matt

Compelling and sensitive, superbly performed. I left thoroughly satisfied, but feeling the play had more depth than I could appreciate at a single performance.