‘The Pride’ illuminates gay conflicts then and now

Hugh Dancy heads MCC Theater's smart premiere of a thoughtful British play

BY MICHAEL SOMMERS

NEWJERSEYNEWSROOM.COM

OFF BROADWAY REVIEW

Contrary to what some members of the younger generation may say, it isn't that easy to be queer.

Believe me, attitudes towards homosexuals may have changed for the better over recent decades — at least in many parts of western civilization — but with greater social freedom comes other pressures.

An often absorbing play from England by talented newcomer Alexi Kaye Campbell, "The Pride" contrasts the closeted gay times of half a century ago against today's seemingly happier existence. Premiering on Tuesday at the Lucille Lortel Theatre, "The Pride" explores how some men cannot face up to their inner conflicts regardless of the prevailing culture.

Set in London then and now, with scenes switching between 1958 and 2008, two separate stories bisect during the course of the play. The 30something characters in both are named Philip (Hugh Dancy), Oliver (Ben Whishaw) and Sylvia (Andrea Riseborough), but in each story they are different people depicted in differently unhappy situations.

In 1958, Sylvia introduces her devoted husband Philip to her nice new friend Oliver. The men engage in a brief, furtive affair until guilt-tortured Philip brutally ends it, leaving Oliver devastated. Sylvia, however, realizes that all is not right with the men in her life.

The 2008 Oliver is grieving because Philip, his wonderful boyfriend of the last 18 months, has called it quits due to Oliver's addiction to sex with strangers. The Sylvia here is Oliver's supportive chum whom he leans on too heavily while sorting out his miseries.

These guys are bright professionals — Oliver is a successful writer in both incarnations — but in spite of their diverse cultures (the '58 saga packs a horrifying account of aversion therapy) they are shown to experience varying feelings of loneliness, shame and alienation related to their sexual beings. And the women are wounded through their relationships with them. The phrase "I'm sorry" repeats like a sorrowful litany.

Far more emotional than political in content, "The Pride" threatens at points to become a Gays of Our Lives sort of soaper. Sharp notes of humor wisely cut down on the potential suds. Certainly a bit involving a chatty sex worker dressed as a Nazi is priceless.

This tricky but thoughtful work is staged for MCC Theater with admirable skill and sensitivity by Joe Mantello, whose designers adroitly deal with alternating time periods. The performances are excellent.

All cheekbones and wounded eyes, Whishaw conveys a vulnerable quality that assuages the 2008 Oliver's tendency to mope. Dancy naturally depicts a tightly-repressed gentleman of then and a well-adjusted fellow of today. Especially poignant in the 1958 sequence, Riseborough's two Sylvias are empathetic creatures in different ways. Believable in several roles, Adam James is particularly effective as an expansive straight chap whose remembrance of a gay uncle proves unexpectedly touching.

"The Pride" continues through March 20 at the Lucille Lortel Theatre, 121 Christopher St., New York. Call (212) 279-4200 or visit www.mcctheater.org.