BWW Reviews: Paragon Theatre's THE PRIDE

"What happens between two people can be sacred and important. It doesn't matter who those two people are!" Through personal struggles and relationships, that is what is explored in THE PRIDE, a dark drama by Alexi Kaye Campbell. In the story, Oliver, Phillip, and Sylvia are caught up in a potent love triangle that spans decades. Jumping from 1958 London to the present and back again, The Pride drives the threesome up against social and personal assumptions and beliefs about sexuality, identity, and friendship. The show is actually two interwoven stories, set in two separate times, knitted into one.

Ultimately, what this show needs is some narration to help delineate between the first plotline (set in 1958) and the second plotline (set in 2008). When jumping between decades using the same characters, but in different scenarios (very "Sliding Doors"), one needs some guidance so as to not get lost in the shuffle and the overlap. The audience reflected the confusion this kind of time-hopping can cause. The more lost they became, the more the shifting of bodies, creaking?of seats, and creasing of foreheads became apparent. Even during the more perplexing moments; however, the audience was quite engaged by the overlapping story, due in huge part to the superb acting. Jarrad Holbrook (Phillip), Barbara Andrews (Sylvia), and Jacob Walker (Oliver) are exceptional in their roles and rise solidly to the controversial material presented.

Now let's get down to the nitty-gritty. In examining the play, it is best to separate the two stories. In this reviewer's eyes, the initial story had a lot more meat to it, perhaps because of the cultural context in which the characters were placed. In this first scenario (1958), Phillip and Sylvia are married and Oliver is Sylvia's business associate. Things get complicated when Oliver is introduced to Phillip and sparks fly between the two. (This particular scene is cloaked within delicious British wit that is worth noting). The men begin a sordid affair that inevitably ends in tragedy. Besides the opening scene, the other scene-stealer is when Sylvia confronts Oliver about the affair. Their exchange is simply marvelous. However, I felt there were a couple of components that seemed out of place and unnecessary, beginning with the rape scene (a symbolic denial of homosexuality and blatant assertion of stereotyped heterosexual masculinity) and ending with Phillip going to rehab (perhaps to explain the above mentioned denial/assertion?) Given the title of the play, I didn't feel these were especially proud moments.

In the second scenario (2008), Oliver and Phillip are just ending their relationship and Sylvia is Oliver's best friend. The first scene is quite humorous, but it quickly devolves from there. Oliver, trying to get his footing on a very slippery slope, becomes toxic and full of self-loathing. His status as a sexual deviant struggling to define his own identity becomes clear throughout this second plotline (let's just say he's bobbing for blowjobs in the park). With Sylvia's help, he pulls through and this scenario ends with Phillip and Oliver rediscovering one another (sort of) and Sylvia starting her own life, free of the men's drama.

Reflecting on my own personal struggles and triumphs in becoming the proud gay man I am today, this show made me a little sad and I found myself wishing there was more of an overwhelming sense of pride and triumph rather than the small glimmer we receive at the end. That said, I can see how the male characters' struggles with self-acceptance and shame - especially in pre-Civil Rights 1958 - resonates today with many young people who are struggling not only with their sexual identity, but also with the potential violence and abuse that is a reality for many gay people, especially young gay men. I'd like to sit down and have a drink with playwright Alexi Kaye Campbell and ask him where is the 'pride' in this production? I think with the current political and personal climate - politicians attempting to deny same-sex (human) rights, gay teen suicides, bullying, discrimination -THE PRIDE could serve as an important catalyst to opening conversation about current issues facing gay men and women (Paragon Theatre did include a couple of talk-backs after their shows, which I appreciated). The idea that 'the more things change the more they stay the same' would be a good jumping off point. Are things really all that different for young gay men in 2011 as compared to 1958? The answer is yes ... and no. Again, pieces of the 'pride' puzzle seem to be missing in the overall picture of cross-historical issues. Then again, maybe Campbell is leaving some of this work up to us.

Taylor Gonda, in her Paragon debut as director, does an excellent job of interweaving the separate story themes, smoothing out the plot and creating a needed fluidity. But I was curious if the timelines would have been less confusing had they used a different accent or dialect in the second scenario to lend sharper contrast between the two historical locations. Set designer Taylor Dystra uses simple touches to differentiate the two, which was ever so helpful. The set itself is significantly British; I loved the regal doorways, used as entrances and to frame the minimal set.

Even amidst moments of temporary confusion, the acting is superb and certainly something to witness. The Pride shines a light on the ideas of 20^th versus 21^st century homophobia, identity, self-acceptance, love, sex and - yes - pride.

THE PRIDE is playing at Paragon Theatre, located at Kim Robards Dance Theatre at 1387 South Santa Fe Drive, now through June 4^th. Performances are Thursday, Friday, and Saturday evenings at 7:30pm. For tickets and information, contact the box office at 303-300-2210 or visit www.paragontheatre.org.

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