The Pride by Alexi Kaye Campbell. Directed by Tom Daley.
Presented by STET and BEME Theatre, seen Wednesday 25th January in Het Paradijs, the studio theatre in The Hague’s Koningklijke Schouwberg.
by Claire Richards
Philip Alex Pedrick
Oliver Graham Dickson
Sylvia Marene Miller
The man Tom McDonald
‘It will be alright, it will be alright, it will be alright.’ Sylvia
Opening to a full house The Pride begins almost without introduction on a curtain less stage. The contrast between the at times almost suffocating, stifled atmosphere of the play and the sounds of the wind and the trams passing by outside only added to one of the strongest themes of the play, the impossibility of escape from the environment and times in which we live. We can shelter indoors or in the case of Philip take shelter in his marriage to Sylvia, or Oliver and his sex with a stranger addiction, but there will always be an inescapable reality.
From the first uttered words between Philip and Sylvia I was immediately engaged in spite of their use of Received Pronunciation, used more often today for comic effect and to symbolise undeserved privilege. With Tom Daley’s elegant direction and outstanding acting from Alex Pedrick, Marene Miller and Graham Dickson we see forced intimacy and repression, no privilege at all.
The scene changes from 1958 to 2008 are definite and at times quite shocking, yanking us into the future with the perfectly timed lighting changes from Vassilis Apostolatos and the music played live by the composer, Krister Schuchardt. Every inch of the stage is used, the on stage wardrobe is alive, with the clothed and unclothed hanging mannequins looking impassively on. The costume and 1958-2008 changes are all performed on stage with outstandingly paced piano accompaniment, while the actors themselves adjust the set furniture. The low, open stage lent the play its only freedom as the actors exited and entered from various points beautifully exploited by Tom Daley’s direction.
Graham Dickson was on stage for almost the entire performance and switched effortlessly between the two Olivers. His portrayal of the shame, disappointment and churlish failure to accept the reality of Oliver’s 2008 situation was at times achingly real. The 1958 park scene with Sylvia is excruciatingly raw and moving. Alex Pedrick as Philip, not a particularly sympathetic character but nonetheless more than demonstrates the heart-breaking pointlessness of drawing a second, innocent individual into your own, personal angst. Sylvia played by Marene Miller reminded me at times of the restraint, hope, love and optimism of Greer Garson playing Mrs Miniver in the 1942 film. Tom McDonald was exceptional playing all other characters, his characterisation of every one of his roles was sharp and expressive and not without sympathy. His portrayal of the magazine Editor telling the tragic story of his Uncle Harry physically contrasted with the direction of the character as he strode brashly around the stage.
The Pride is a long play, more than two and a half hours but it didn’t feel long. It is a deeply charged and active exploration of that most perennial of subject, the human condition. Among the heartbreak, despair and restriction there is hope and a deep, deep love. Go and see it if you get the chance. After the play I wondered, was the 95 year old man in the string vest at Pride 2008 the 1958 Philip or Oliver? After all we are all moulded by the times in which we live, I hope.
The English Theatre's Blog 