The Pride

By Alexi Kaye Campbell

Tuesday 30th October – Saturday 3rd November 2018

The powerful debut play from Alexi Kaye Campbell, winner of an Olivier Award, the Critics’ Circle Award for Most Promising Playwright, and the John Whiting Award for Best New Play.

Alternating between 1958 and 2008, The Pride examines changing attitudes to sexuality, looking at intimacy, identity and the courage it takes to be who you really are.

The 1958 Philip is in love with Oliver, but married to Sylvia. The 2008 Oliver is addicted to sex with strangers. Sylvia loves them both.

  • Most Promising Playwright, Critics’ Circle Awards – 2008
  • Olivier Award for Outstanding Achievement in an Affiliate Theatre – 2008
  • Winner of the John Whiting Award – 2009

CAST: Lewis Schaefer, Max Taylor Saunders, Chris Green, Sally Rawlins

DIRECTORS: Ria Milton with Rachel Curren

By Reviewer

This was the first time I had seen this play by Alexi Kaye Campbell and although I knew a little about the content, I wasn’t sure what to expect.

On entering the auditorium I was immediately struck by the minimalist set with black walls. I always look forward to the sets at CTW as the attention to detail on their sets is first class, however, although this was a very basic set it was the perfect backdrop to what proved to be a powerful performance and very strong production.

With only 4 actors in the cast and split between 2 time periods,  one set residing in the 1950s, and one set in the present day. We see during the play, the action move between the two eras, tracking developments between the two sets of characters.

Pre-1967, any sort of consensual sex between male adults even in private meant they could be sent to prison for the offence of great indecency, which meant they lived with the fear of prosecution.

So, our first characters in the 1950’s are Philip and his wife Sylvia, who brings home a work colleague, Oliver. There is an immediate attraction between Oliver and Philip which we see progress throughout the duration of their story. In the modern day story, Gay Couple Philip and Oliver have split up – Philip leaving Oliver for his promiscuous sexual activities outside of their relationship and Oliver’s turns to his close friend and emotional rock, Sylvia.

In both, times Oliver was played by Lewis Schaefer. Lewis gave a great performance and I particularly felt he shone in the more contemporary character struggling with so many issues with his relationships and sexual addictions.

Sally Rawlins as Sylvia was strong in both her eras. I particularly thought her monologue on the park bench which was exceptional and gave us a beautiful insight into her plight and the need for her husband to be happy even at her own pain and loss. By contrast, her frustration at being an emotional crutch for Oliver in the modern era was perfectly balanced and well played.

I thought Chris Green in his variety of roles was fabulous. His Nazi, the doctor, the golfer and his scene changes complete with side looks and fluff picking made it all more interesting.

However, it was Max Taylor Saunders as Philip, who really struck me with his intense portrayal of both characters.  This was a masterclass on embodying a character and delivering two contrasting performances.

The play itself was a great production, and if you are not easily offended by language or action, then I would strongly suggest you go and see this as it hits the mark with such a powerful storyline and it reminds us how far the LGBT movement has come and is still fighting for its place in some instances.


Michelle Jacobs | October 2018 | The Pride continues at Chelmsford Theatre Workshop until Saturday 3rd November 2018

It takes a strong production to keep an audience spellbound in their seats for a marathon hour and 20 minute first half, especially one played out on a stark, minimalist black set. Such was the effect of Chelmsford Theatre Workshop’s latest offering, The Pride.

Alexi Kaye Campbell’s debut work is a thought-provoking, sometimes disturbing but ultimately heartening account of changing values and attitudes to homosexuality in the 50 years between 1958 and 2008. The parallel stories of the same three characters set in two different timeframes is not an easy tale to bring to the stage but the confident, insightful directing of Ria Milton and Rachel Curren, leaves us in no doubt as to where we are in the action. Not that there is a lot of action, particularly in the first half. The story and characterisation largely develops via lengthy episodes of dialogue which are seemingly more fitting for a radio play than a theatre production. However, tight direction and sensitive and appropriate delivery from all members of the small cast manages to hold the audience’s attention with virtually words alone. It also means the action when it comes is all the more shocking and brutal.

As the conduit in the lives of Oliver and Philip in both periods, Sally Rawlins as Sylvia is convincing as at once the frustrated but resigned 1950’s wife, oppressed but powerless when forced to acknowledge her husband’s latent homosexuality and the loyal but frank friend and confidante to both former lovers 50 years on. In 2008, she is not afraid to speak out about needing her own life too.

Lewis Schaefer is a suitably charming and slightly naïve Oliver in the two stories. He is equally adept at portraying a stilted, metaphor heavy admission of feeling for the 1950s Philip as he is of delivering a direct, emotional outpouring befitting the ‘selfie’ generation of 2008.

Max Taylor Saunders provides a similarly competent performance as Philip throughout but particularly brings the 1958 character to life, portraying the confusion and frustration of the gay man forced by social pressure to remain in the closet, well. Saunders also makes the best of the role of the 2008 Philip, although it appears as if the character is not as well developed in the script.

Special mention has to go to the fourth member of the tight-knit cast. Chris Green portrays three nominally supporting roles, which each have a crucial impact on the lives of the main characters, be that a heel clicking Nazi officer, a melodramatic Lad Mag editor or a sinister, unsympathetic doctor.

The Pride is an intense watch, mirrored by the simple black set with just a few well chosen props to denote scene and time changes in an ingenious and unobtrusive way. After an ultimately heartwarming ending, which hinted that lessons may have been learned from the past, it was a shock to get up from one’s seat!

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