Review: Pride (Dorfman Theatre)

Review by Daz Gale

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If you are wondering why certain businesses and websites have been sporting rainbow logos this month, the answer is that it is Pride Month. The reasons behind each company's decision to mark it certainly vary, with some doing it for show while others have more significance, understanding the importance of Pride. As time passes and events move further away in history, the true meaning of Pride is sometimes lost, and it is always worth remembering, - as well as being a celebration of the LGBTQIA+ community, it is also a protest. The world premiere musical adaptation of Pride couldn't have come at a better time. It may be more than 40 years since the events in the musical take place, but the world feels as divided now as it did then, if not more so. Would this musical prove worthy of the legacy of the true events at the heart of the story, or would it fail to instil anyone with pride?

Adapted from the 2014 movie of the same name, Pride is based on the true story of the miners' strike from the summer of 1984. Still fighting tolerance and acceptance in a homophobic and bigoted world, Mark Ashton feels inspired to reach out to another community that is currently being victimised, that of the miners. Finding similarities in their struggles and public perception, he sets up ‘Lesbians and Gays Support the Miners as solidarity’. That creation takes him and the other members to South Wales as he sets up an unlikely alliance with the community there, helping to raise funds. However, it is still the 1980s, and not everyone is so welcoming of his offer of assistance, resulting in a variety of responses ranging from the naive and absurd to the downright prejudiced.

The movie was incredibly well-received upon release, and its writer and director have teamed up once again to pen the stage adaptation. It is a match made in heaven, taking all of the strengths from the movie and surpassing it through the use of this new medium. At its heart, Pride is a story about human connection, and it is unsurprising that this production benefits from the lack of a barrier of a screen, with the actors’ ability to make eye contact and walk among the audience making the story all the more intimate and real.

Pride is bursting with huge and heavy themes - its message of community is constantly present as these two unlikely victimised groups join forces to rally support. As well as that, it also looks at the journey of self-acceptance, particularly when it comes to your sexuality, with characters on different stages of their journey finding comfort in their newfound community, ultimately helping each other. I must say I found this element particularly powerful and tastefully done, drawing similarities with my own coming out many moons ago. Though it is set in 1984 and attitudes towards gay men and lesbians aren’t quite as extreme now as they once were, there is still a truth, relevance and a poignance to the message which can be translated to any marginalised community, with divisions even within the LGBTQIA+ community still found today. In an increasingly divided world, Pride is a timely reminder of what can be achieved when people from different walks of life come together, and the importance of the power of community.

These are some tricky themes to play out in a musical, and can come across as heavy-handed, sanctimonious or insensitive in the wrong pair of hands. However, with Stephen Beresford, the message is delivered to absolute perfection with each central theme feeling natural and ultimately impactful. What truly impresses in Beresford’s writing is how drastically different tones can follow each other in quick succession or even play out simultaneously without feeling jarring. Dialogue is frequently funny with some killer one-liners, while characters always feel authentic and relatable, without being afraid to be slightly exaggerated. Jonathan might be larger than life, and Bromley might be shy and uncertain, but I bet many people in the audience will have met people in their lives similar to one or both. I know I certainly have.

What is new for the stage production is the inclusion of original music, with lyrics written by Beresford and music by Christopher Nightingale, Josh Cohen and DJ Walde. Songs can make or break a new musical, especially when it is to fill in aspects known and loved by many from the movie. Pride doesn’t put a foot wrong, offering a collection of exceptional songs that feel destined to become future classics. Featuring a variety of styles, with even disco occasionally, they range from tender ballads to absolute bangers, with no shortage of showstoppers to be found. From the beautiful Act One closer ‘Bread And Roses’ to the slightly unconventional but utterly mesmerising Act Two opener ‘You Might As Well Live’ to the wonderfully camp and overblown ‘I Miss Disco’, these songs never fail to put a smile on your face, boasting impressive lyrics that move at times and entertain at others. Overall, these numbers are so good it almost makes me want to organise a protest to rush-release a much-needed cast recording.

Matthew Warchus developed Pride with Beresford and has returned to direct this adaptation, thrilling with his consistently inspired choices. The Dorfman Theatre is the smallest of the three National Theatre spaces, but the intimacy feels necessary to this production, and Warchus plays into that, never taking his eye off the human connection that is so paramount to the success of this story. Some of the smaller and more subtle moments are beautifully tender, but it is in the bigger moments that Warchus’ direction truly shines, such as the aforementioned musical numbers in a show with no shortage of showstoppers. Details including cast members in the audience and the way the story is told with fourth-wall breaks never excessively done, are further examples to the genius of Warchus, who is at his best in this remarkable production. 

The showstopping musical numbers come alive through Lizzi Gee’s fabulous choreography, with the big numbers among the best moments of the show. Bunny Christie’s set design works in its simplicity, allowing the cast to retain the majority of the focus without the distraction of excessive props or clutter. Hugh Vanstone gets some great moments with his lighting, particularly in the subtle way the beginning of Act Two transitions without the audience noticing, while Bobby Aitken’s crystal clear sound design means every wonderful word is heard without hesitation.

The last aspect of Pride to talk about is the cast, and what a cast they are! Though each gets their own moments to shine individually, it is the way they work as an ensemble that makes the show succeed to the level it has, offering a satisfying parallel to the story. Jhon Lumsden ties the action together as Mark with a captivating performance that can see him dominate the stage at times and gladly step aside for others to take their turn throughout. A wonderful performance, his interactions with the fellow members of his group led to some fantastic dynamics and electricity to be found on stage. Samuel Barnett is brilliantly over-the-top as Jonathan, providing no shortage of killer moments and zingers. It is the power and conviction in his delivery that makes the character land in the way it does, with one adamant refusal about toning it down, receiving rapturous applause from a spellbound audience. The stage presence Barnett has in this role is magnificent, with his big Act Two opening number demonstrating his strengths as he teases with a slow-burn reveal before an almighty climax.

Courtney Stapleton is a force to be reckoned with as Steph, forming a key characteristic in the group that becomes more than just the “only lesbian”, instead offering a no-nonsense and ballsy approach that makes her a delight to watch. Jordan Shaw gets some wonderfully comedic moments throughout, always delivered faultlessly, while Chris Jenkins masters the art of patience as Gethin to ensure his ultimate payoff truly sticks the landing. Lewis Cornay delivers one of the standout performances as Bromley, with an initial sweet and shy portrayal, growing in confidence gradually. Cornay allows this to happen slowly so that each scene is a little bit stronger than the one before. By the time he gets to his big musical number, ‘I’m Into Guys’, he is effortlessly dominating that stage, with remarkable vocals leading to yet another showstopper of a musical number.

It isn’t just the members of the Lesbians and Gays Support The Miners group that make up the cast of Pride. I would mention each and every one at length if I could, such is the collective talent between them all. A couple of highlights I have to mention are Caroline Sheen for her role as Maureen, not the most likeable of characters, but certainly an impressive performance. Gillian Elisa is an absolute scene-stealer as Gwen, getting some of the biggest laughs of the show through some small but memorable moments, amazingly directed and flawlessly acted.

The phrase “you’ll laugh and cry” may be overused, but it is the truth here. I found myself in tears mere seconds after laughing. The whole thing is profoundly moving - I can safely say I have not felt that emotional at a show in a very long time, with the only other time that feels a relevant equivalent being the first preview of Come From Away. At that performance, I jumped to my feet within a microsecond of the show finishing, and the same happened at Pride. The response was almost involuntary (the tears certainly were). Uplifting and joyous, this musical effortlessly manages to penetrate the heart and soul of everyone watching to provoke an emotional response, and it certainly did that for me.

While I have seen some great musicals this year, I have been waiting for one to really jump out at me and remind me just how incredible theatre can be when the stars align, and the rarest of all shows unite. Pride is the show I have been waiting for in what is truly an impeccable piece of theatre. Perhaps I can too enthusiastically say something is the show of the year on multiple occasions, but something has to come out on top. As of June 26th 2026, that show is Pride - certainly the best musical of the year so far and one I would be very surprised if anyone managed to beat. Watching Pride really feels like watching the birth of the next big thing in musical theatre, with its joyous, uplifting and inspirational message of community and solidarity perhaps needed now more than ever before. Don’t be surprised when an inevitable West End transfer is announced sooner rather than later, and don’t be surprised if it reigns there for years to come. This new musical has a long and thriving life ahead of it, and every single person involved should feel suitably proud.

Pride plays at the Dorfman Theatre until 12th September. The entire run is sold out but check https://www.nationaltheatre.org.uk/productions/pride/ for returns.

Photos by Manuel Harlan