The Pride

The Pride
By Alexi Kaye Campbell/ Directed by Shane Bosher. Darlinghurst Theatre, Sydney. Sydney Gay and Lesbian Mardi Gras. February 5 – March 6, 2016

As the lights come up on a house in 1958 London, we see Philip and Oliver in the doorway. They are meeting for the first time – Oliver works with Philip’s wife Sylvia – and there’s a sense of excitement. But it’s tense: the feelings they’re experiencing are forbidden and Philip, at least, must hide them. It’s all clear as they stand awkwardly in the doorway: a powerful first moment in this wonderful production of an award winning play.

Alexi Kaye Campbell’s The Pride, which won an Olivier after premiering in 2008, explores what’s changed for gay men in 50 years. Scenes alternate between 1958 and now – in the present day Oliver and Philip are a gay couple breaking up. Contrasting the two periods shows how much easier life is for a gay couple today – and yet how many still manage to make it difficult. Not everything has improved for gays and lesbians, even at a time when they can march down the street with pride.

Director Shane Bosher is one to watch, a recent import from New Zealand. This play is structured largely around scenes of two people in conflict and Bosher executes them simply but effectively. There are various standout moments, from the first scene at the door to the incredibly poignant point, after Philip and Oliver’s relationship explodes violently, when Oliver leaves the stage, with his back to the audience. Under the clever direction – and with accomplished acting – Oliver’s shame becomes overwhelming.

The four actors turn in brilliant performances, all switching expertly between at least two different characters and periods. The Darlinghurst Theatre once again develops top-notch performances that show up even major companies.

Simon London and Matt Minto are wonderful as Philip and Oliver, each alternating between likeable and obnoxious people. Geraldine Hakewell is wonderful as Syliva, a character that would be easy to lose among the others. Her performance cannot be ignored.

Kyle Kazmarzik also triumphs in three smaller parts, particularly as a man Oliver picks up for sex. The audience applauds his stage exit after this scene: his astonishing use of accents captures a version of camp that’s funnier than most things you’ll see at Mardi Gras.

The Pride is indeed part of this year’s Mardi Gras festival. It’s a decent choice: a very good play, although too long (running for more than two and a half hours). Some of its scenes lack drama, perhaps because the hardships endured by gays and lesbians have now been seen on stage many times before.

But the play’s good points far outweigh any bad: it’s a great idea that is well-written and structured. And with such good direction and acting, it’s hard to pick a fault with this production.

Peter Gotting

Images: (top) Matt Minto, Geraldine Hakewill and Simon London, and (lower) Geraldine Hakewill and Simon London. (c) Helen White

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