WHAT A DIFFERENCE FIFTY YEARS CAN MAKE
by Marinell Haegelin
The English Theatre ’ s proclivity for bringing intense , moving , and inspiring theatrical productions to Hamburg audiences is evident in director Paul Glaser ’ s staging of the relevant , cutting edge The Pride , Alexi Kaye Campbell ’ s 2008 award-winning debut play . The characters exhibit experiences the Greek-born playwright gained from waiting tables in New York City for over a decade of theater and television roles in London . In this two-act play , Kaye Campbell explores the fundamental relationship among three individuals entwined in a homosexual entanglement .
Philip is the quintessential 1950s male — staid , pompous , and self-satisfied . Job security ( selling London real estate ) and marriage to the lovely , lively Sylvia stave off his mundaneness . Philip is waiting for Oliver , Sylvia ’ s friend and source of income , to arrive ; she ’ s always singing Oliver ’ s praises . They ’ ve invited him to dine at a nearby restaurant , and , per 1958 custom , cocktails are first served at home . Upon meeting , the men feel they ’ ve met before . Oliver , a children ’ s book author , is explaining how his imagination runs free while writing and his delight with Sylvia ’ s illustrations , when she joins them . Conversation turns to travel and , with Sylvia ’ s encouragement , Oliver tells Philip about his epiphany at Delphi : “ ( F ) ears we now hold onto and the sleepless nights we now have seem almost worthwhile … be it fifty or five-hundred years from now …” Sylvia goes to get her hat , giving Philip time to tell Oliver about her illness , and to inquire about his manifestation . Leaving for the restaurant , they neither see nor hear the costumed Man entering the apartment .
In his 2008 lifestyle version , Oliver likes roleplaying , particularly sexual adventures , and tonight his “ torture ” is rough humiliation . His mood snaps : instead of kinky sex , Oliver offers Man a cocktail and conversation , complimenting his acting skills . He then cries on Man ’ s shoulder about his boyfriend leaving him , and how he ’ s afraid this time it ’ s for real . Unexpectedly , Philip arrives and quickly picks up on Man ’ s costume and posturing , thus ignoring Oliver ’ s blathering — Oliver thought
Philip was out of town . Philip coldly responds he came for his books ; Oliver shoves the poor Man (?) out . Starting afresh , Oliver defends his arbitrary sex drive while professing love for Philip who condemns Oliver ’ s addiction , albeit admitting he ’ ll always care for Oliver . Philip storms out . The 2008 Oliver exits while 1958 Sylvia enters the semi-darkened room .
Juxtaposing parallel universes allows Kaye Campbell to develop and illustrate contrasts over fifty years of societal evolvement . Each time-transition positions the characters ’ interactions to specific topics : addiction , rape , denial , courage , and understanding and acceptance .
The talented London thespians mastered the dialogue-intensive script and the play ’ s timeshifts . Daniel Cane , as the wordsmith Oliver , carefully committed his many-adjectival part to memory , while Lisa O ’ Connor focused on maintaining the physical characteristics that differentiate between epochs . A scene in the first act tested Mat Betteridge , just as Matt Hastings ’ s three distinct personalities — Man / Roleplayer , Doctor , and Peter / Publisher — demanded concentration .
True to Glaser ’ s stagecraft , he worked assiduously with the actors to distinguish the time-shifts and technical difficulties involved . He re-creates his vision onstage in collaboration with Mathias Wardeck , set designer , Heiko Böttner , lighting / sound , and Patricia Royo , costumes . Meeting the challenges a small stage presents head-on , Glaser concentrated on lighting to create multiple locations / time-shifts and set / costume detailing . He composed the music to seamlessly transition between scenes / time periods . Glaser implemented set techniques developed in Great Expectations ( 2022 ) using present-day technological developments to create magic behind the actors .
The bewilderingly complex cultural achievements of 2008 almost pale when compared with 2023 . Yet at its heart , Kaye Campbell ’ s message is timeless : Live your truth . And that is a message well worth seeing and hearing .
PULITZER PRIZE-WINNING PLAYWRIGHT AYAD AKHTAR ’ S THE WHO & THE WHAT PREMIERS APRIL 6 AND RUNS THROUGH JUNE 3 . JUNE 6-18 , ETH ’ S SECOND MIDSUMMER MADNESS : ENTERTAINMENT , THEATER , AND IMPROV WORKSHOPS . DO BOOK EARLY .
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