Gay Pride And No Prejudice

Jane Austen’s “Pride and Prejudice” has inspired quite a range of adaptations over the years. We’ve seen everything from the clever “Bridget Jones’s Diary” to the unconventional “Pride and Prejudice and Zombies.” However, this latest adaptation of Gay Pride and No Prejudice falls somewhat short of its predecessors.

While it’s clear they’ve aimed for broad appeal, it doesn’t quite hit the mark. The humour feels a bit forced, lacking Austen’s trademark wit. The characters, once beautifully complex, have been reduced to rather simplistic versions of themselves. At times, the performances border on the theatrical.

The most disappointing aspect, though, is the storyline of Gay Pride and No Prejudice. Austen’s original wove a rich tapestry of social commentary and personal growth. This adaptation, however, offers a rather simplified narrative that doesn’t capture the depth of its source material.

While devoted Austen fans might find a few enjoyable moments, this adaptation struggles to justify its place in an already crowded field. It serves as a reminder that capturing the essence of a beloved classic is no easy task. One can’t help but wonder what Austen herself might have thought of this particular homage to her work.

Writer, David Kerby-Kendall has taken an all too familiar story/experience to the gay community (One of best friendships becoming more than that and the other rejecting the notion). If you asked any queer person this doesn’t end in a happy ending, however in true Austen style this was given a happy ending worthy Bridgeton. However, the main issues with the writing is that it could have been based anywhere with any characters and felt shoe horned into this world as if the Austen foundation would give the piece more grounding, however with an often at times inaccurate use of the language, this felt rather preachy by the end of the show. The intent to discuss women’s right, equality and the treatment of gay people in 1812 was clear, however it fell flat. Perhaps this is due to other pieces doing it better, in a more intelligent way. The play did have some good humour usually delivered by one line zingers which, unfortunately grew tiresome over time. It felt as if it didn’t know which genre it fit in whether it was a period drama, a modern take on a period drama or a pastiche of a period drama, mixed with linguistic inaccuracies and historical blunders this script doesn’t hit the mark

The writing aside, the actors on that stage were wonderful to watch. Mainly all new in their careers and expertly cast by director Luke Frederick’s, not one of them missed a beat. They were the saving grace of the play. Darcy played by Michael Gillette was a strong commanding lead male who oozed presence. His portrayal of a queer Darcy was straight forward, confident and allowed you to relax with his anxious stoicism, not wanting to conform to the society which is a beautiful counter balance to Noah Butt’s Bingly is a charming socialite who is desperately trying to fit in with societal norms, but when he gives into his feelings he becomes an even more charming and neurotic role a perfect counter balance to the characterisations of Darcy. A shining star in this ensemble, Sophie Bloor’s Lizzie is a strong, impassioned, modern woman fighting against the social norms and is definitely ahead of her times (Especially when she mentions a handbrake… which as research tells me wasn’t invented until the 1940s). Bloor plays her with emotional depth and versatility, commanding the stage and giving Darcy a run for his money – however the reliance on quippy one liners made her come across facetious at times to Sophie Bradley’s Jane. Bradley needs a bigger stage. The Union Theatre shook at her emotional turn in the latter half of act two. She glowed with technical accuracy reaching into the hearts of the audience with raw, intense hurt. 

Ultimately, this adaptation serves as a reminder of the challenges inherent in modernising beloved classics. While it may not fully succeed in its ambitious goals, it does provoke thought about representation in period pieces and the enduring relevance of Austen’s themes. For audiences willing to overlook its flaws, the production offers an intriguing, if imperfect, new perspective on a timeless story.

Review by James-Lee Campbell

Gay Pride and No Prejudice is on at the Union Theatre until 2nd November. You can find out more and buy tickets here.

If you like this review you might also like my review of Why Am I So Single?, Titus Burgess at The Phoenix Arts Club and Mean Girls.

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