Love, loneliness and identity explored in this high quality drama

THIS thought-provoking piece by Alexi Kaye Campbell is built around a 50-year timespan, alternating between 1958 and 2008.

A play with adult themes and adult language, The Pride explores how the lived experience of gay men has changed over those 50 years.

Aidan Moran’s set design, together with Spencer Rodd’s lighting and costumes by Bryan Urbick, allow the actors to move seamlessly and stylishly between these two time frames.

In the Fifties, we meet an estate agent, his wife and her male colleague. An uncomfortable love triangle develops.

In 2008, the names are the same but the characters are different. Faith Mansfield is outstanding in her ability to carry off two very different roles as the demure Fifties wife Sylvia and the outgoing, loyal friend Sylvia in the 21st century.

Adam Wells is accomplished and perfectly paced as the two Olivers, the gentle, repressed Fifties version and the troubled, promiscuous character we meet in 2008.

Matthew Beswick is engaging as the amusing raconteur Philip of the Fifties and heartbreakingly poignant as Oliver’s betrayed boyfriend in 2008. A well-written text (with strong comic undertones), superb performances by all the cast members and masterful direction by Mark Taylor confer an authenticity on the exchanges we witness.

The dialogue in all scenes is naturalistic and absorbing as characters share confidences with one another and explore themes of love, loneliness and personal identity.

The play respectfully explores what makes a meaningful relationship as well as frankly acknowledging sexual desire.

These characters all came to life for me: I wanted to know what made them tick.

I also enjoyed John Turner’s funny portrayal of a resting actor turned escort and his chilling depiction of the doctor presiding over conversion therapy in the Fifties. Ken Deeks as blokeish editor Peter delivers a very moving soliloquy about his uncle, lost to AIDS.

The Pride exposes layers of culturally constructed prejudice against gay men but also recognises the anguish resulting when things go wrong in relationships.

We feel for sad Philip, let down by Oliver in 2008, but Fifties Sylvia is also hurt, caught in terribly damaging emotional crossfire when her marriage falls apart.

The play includes some explicit and troubling scenes but there is also hope that people can forge tender relationships that matter and discover pride in being themselves.

This exceptionally high-quality drama runs until October 15.

Susan Creed