Seen 25 January by Lora Mander
The Pride–Has being gay ever become easier?
We start in 1958 and Sylvia, an ex-actress-turned-illustrator introduces her husband Philip to her boss, Oliver, a children’s author. Sparks fly in conversation between the two, but there is a sense of something left unsatisfied.
Skip ahead to 2008, it’s the eve of the Pride parade, and Oliver is drowning himself in his own sexual desires, hiring call-boys, after his recent break-up with partner Philip. Their friend Sylvia becomes Philip’s shoulder to cry on as he navigates his way through the break-up and reconciliation.
Both Philips are trapped in a world of heart-break and lovelessness and we wonder whether the freedoms of expression and gay love that men have fought so hard to achieve ever allows for love to flow?
In this most recent production, beautifully directed by Tom Daley for BeMe Theatre, we see Oliver, played by a pliable Graham Dickson, go on a staggering journey of repression and expression with his counterparts Sylvia played brilliantly by Marene Miller and Philip played by Aled Pedrick. Mr. Daley has set the stage with two opposing chairs, rather than a conventional sofa, which allow for the characters to challenge each other head on, but also allows for the uncomfortable tension to build between any two characters that are unable to speak to each other.
Alexi Kaye Campbell’s text is quick and lyrical, often giving us little delightful snippets such as “I’m beginning to miss your economy with the truth”, which modern Philip uses to castigate Oliver for his lies. However, there were some missed moments within the story line, which leave you wondering how the performers were able to fill in the gaps. In the 1950’s Philip and Oliver, we miss any moment of love developing between the two. The story leaps from them having just met, to a break up, and then Sylvia’s mourning of Philip, and Philip’s extreme measures to rid himself of his shameful behaviour. It is hard to grasp the depth of their pain.
Notably, Mr. Pedrick played a strongly repressed and challenging Philip and Tom McDonald handled his various roles off with finesse. Particularly moving was his role as a magazine editor, Peter, and his recollection of his uncle dying of aids.
This production is a strong and relevant choice for STET and the Koninklijke Schouwburg. It leaves us looking forward to what this joint effort can bring to the Netherlands next.
Lora R. Mander
Co-Artistic Director of Orange Tea Theatre Company, Amsterdam
www.orangeteatheatre.com
