Review of ‘Gay Pride and No Prejudice’: “A play on man-ners”

Jane Austen’s 19th-century grand romance relives on the London stage through this new, reimagined version, bringing some extra fantasy onto the table… and into the bed! Guillermo Nazara shares his views on the show,  to let us know if this edgier take on the literary classic manages to breed something worth swallowing.

What else says tradition more like a tale of queens and fairies bending over to the Sissy-lian joys of life? Oh, poof! Yes, I’ve said it, girl. I’ve said it all. And before I get into the bottom of this subject (he loves to be used that way), let me tell you something: if it hurts, I’m probably playing at the top of the game. You can applaud me later. Anyway, unless your brain’s made of some undesirable thick matter (I’m not going for that dirty pun, basically because that one’s actually welcome…), chances are you’ve already guessed what’s coming on to you – seems like I’ve dragged myself into that hole again… and again!

This is not that much of a farce as you may be picturing. “Why the filthy wordplay?”, you ask. Well, I’m sure Grindr has helped you built some strength by now. And as we move on, the spirit of Jane Austen should be making similar arrangements about her precious creation. Because, darling, it’s definitely gone on an completely different direction in comparison to what you’ve envisioned (yes, I like to ghosts – especially after a date in the city…). For the purists that are reluctant to try new things (here’s a few ideas that may help you revitalize your marriage). And for those who don’t like the classics to be altered… well, didn’t a classic itself tell us that the answer to everything was, in fact, to make it GAY?!

Penned by David Kerby-Kendall, this new take brings an additional scoop of drama (with an icing of delightful romance) to the literary icon. Those who are too fond of the original recount can rest in peace, though (yes, I’m asking to shut up and die – so what?): this is still a plot of forbidden love. But never before (at least, by this story’s standards) have those terms being more accurate. Because this time, it’s not one of Mr. Bennet’s daughters trying to elope with her sister’s fiance, but two male suitors wishing to live the life that society forbids them to.

A wonderful premise that’s delivered with similar charm and skill, writer Kerby-Kendall manages to present an engaging narrative that easily bonds with the viewer, while also flaunting several hints of wit through what, in general, is a rather entertaining jaunt. A tale of principles that, just like any other LGBT-themed piece, advocates for something as simple (and yet, for too long condemned) as the right for every individual to behave freely as who they are, its concept holds tremendous potential – which, though nonetheless explored, still leaves room for more unused opportunities.

Though enticing from start to finish, there are some aspects regarding the protagonists’ relationship we don’t get to see – either because they are slightly overlooked, or because sometimes go totally unnoticed. The issue may stem from excessive exposition during Act One – spending too much time at introducing us to its universe, while placing the core conflict at the conclusion. As much as there’s logic in that decision, it also compromises the second part’s ability to take (and connect) us properly with the journey every personage goes through – giving us the impression of occasionally moving too rushed a way.

A suitable solution could have been establishing that initial clash right at the middle of Act One, depicting the secret relationship both have and how it continues to grow (I wonder if that was problematic back in the day without any… moisturizer…), leading to the shocking revelation his wife-to-be has right before the wedding. With that moment serving as a far more effective show-stopper, the rest of the arc could then evolve at a more balanced pace – thus, giving us a stronger feeling of resolution, and ultimately, satisfaction.

In any case, there are still many other elements to praise in this production (I reserve the word worshiping for another…. craft) – a great deal of them belonging to its cast’s superb performances. With the whole troupe exuding exquisite timing, flair and comedic flow, author David Kerby-Kendall also makes a memorable appearance through his poised rendition as the kind (and wickedly passive-aggressive) family man, Mr. Bennet, while Michael Gillette and Noah Butt (I think it would be of bad taste to make another gay pun here… well, it’s in your mind now!) boast absolute chemistry, as well as magnetism, in the lead roles. Yet, the highest mention goes to Marianne March, for her genuinely hysterical portrayal of the naive (being particularly generous…) spouse Mrs. Bennet – playing her part with utmost brilliance and enchantment.

A flip-flopping twist that still preserves the substance of the material it holds in its rear (*smirk*), Gay Pride and No Prejudicr shamelessly brings out the laughter while also serving as a beautiful reminder of the fight which, though still far from over, has been won over by those who opposed hatred and judgement with love and understanding. It’s true that it could be more empowering towards its main personages, and certainly a greater dose of camp wouldn’t have harmed anyone (even those who like blowing their own trump-et). But regardless of those flaws, there is so much to appreciate about this piece, it’s minor lack of size can be almost ignored (that privilege does not apply to you, though). There’s enough to milk out of it. And I haven’t heard anyone complain about that sort of situations before.

All pictures credit to Lucy Nixon.

Gay Pride and No Prejudice plays at London’s Union Theatre until 2 November. Tickets are available on the following link.

By Guillermo Nazara