Pride

(from the Summer 2026 run at the Dorfman Theatre). Some actors have now left the cast.

(seen at the afternoon preview performance on 20th June 2026)

An era the monkey lived through, and it found the Stephen Beresford’s lyric recalling how the mid-1980s treated H.I.V. sufferers sob-inducing; the emotional high-point of this chaotic, sporadically brilliant new musical.

Christopher Nightingale, Josh Cohen and DJ Walde deliver a score that does not always mesh aurally, while Beresford’s book needs condensing - particularly of repetition in the first 40 minutes. Perhaps they could also correct (for liturgy reasons), the idea of Jewish person meeting St Peter - but that’s a minor point.

Director Matthew Warchus could also flip the order of some sequences near the start, to bring us less confusingly into the story.

Regular musical theatregoers may spot a “Les Misérables” pattern here. Just like the origins of that show – which opened only a year or two after this is set – what we are seeing at the Dorfman right now is a chrysalis.

A hard case contains the certainty of a storming piece of eternal theatre. Inside, there is DNA re-arranging itself to emerge as just that.

For the time being, the monkey is happy to ride out the faults. It has long held the rule of waiting until the end of the show before judging, as often the final scene (even final line) causes the whole to come into dazzling focus.

That happens here, and the monkey defies anyone not to choke up in the last 10 minutes.

Before that, there are some good jokes wrapped in that spiky defensiveness our LGBT+ community must sadly still adopt. Back then, it was almost their only weapon as laws were not only inadequate but mostly non-existent. Still are, at times.

If you are old enough to remember, you know. For the young people around the monkey, one power of the show is its education value. And it leaves them stunned and angry.

Matthew Durkan is Mike, Gay activist on a mission. He wins us, and the conservative Welsh village he hopes to help through the strike.

Samuel Barnett’s turn as co-bookshop owner Jonathan is worth heading back early from the interval to catch. Likewise partner Gethin (Chris Jenkins) has a tear-inducing moment he plays to the full.

As Bromley (aka Joe), Lewis Cornay finds himself and plays out the antithesis of Gethin’s story. By contrast, Jordan Shaw as Reggie is out, proud and hilarious.

In Wales, Gillian Elisa turns in fine work. Open-mindedly bonding with Steph (Madeleine Morgan – in for absent Courtney Stapleton), Morgan proves a riot of timing with a strong voice.

On a visit to the capital, Sarah Pugh and Mared Williams take London by storm as Sion and Margaret, alongside playing key dramatic roles in major musical numbers.

Lizzi Gee’s choreography is somewhat thrown by the different composers’ musical styles, so that there is a little less cohesion in form for each dance break. Gee still manages to find identities for both groups, and watching them merge is a joy.

Bunny Christie captures the fashion looks of the 1980s, and ingeniously uses a simple scaffolding set with miners’ lift doors and club bar hatch at the back to allow plenty of space for movement. A few tables, chairs and banners to give us a sense of the times.

Which is the main point of the entire show. A story of a time of social and political strife, felt on the deepest personal level by a few communities, and mostly ignored and forgotten by the vast majority.

The inspiration which caused the real Mark to bridge the gap between two sets of people betrayed by government and much of the nation is humbling.

This musical, and the film on which it is based are likewise. Imperfectly perfect, this is the start of something potentially huge. And that rather mirrors the progress of Gay rights, now the monkey thinks of it. Another connection in a highly satisfying evening of them.

(standing ovation given)

(from the Summer 2026 run at the Dorfman Theatre). Some actors have now left the cast.

What can I say, other than perhaps it could have been 10 minutes shorter, what a triumph! It fills the Dorfman stage from the moment you take your seats.

The set looks quite uncomplicated but it certainly is not. Fantastic lighting, superb sound, an amazing group of musicians creating fantastic music. The ensemble cast worked their hearts out and in the process broke most of the audience's hearts. I've never seen my partner cry at the theatre but she did.

Samuel Barnett is absolutely outstanding as Jonathan and will deserve every Best Actor in a Musical award come awards season.

5 stars and a very rare standing ovation!

Taljaard

The monkey advises checking performance times on your tickets and that performances are happening as scheduled, before travelling.

Notes:
23rd November 2026 at 7pm.

First Saturday 2.30pm performance is on 14th November 2026.
First Thursday 2.30pm performance is on 26th November 2026.

No performances on 24th and 25th December 2026 and 1st and 5th January 2027.
No 7.30pm performance on 31st December 2026.

Extra 7.30pm performance on 27th December 2026.
Extra 2.30pm performances on 27th, 29th and 30th December 2026 and 3rd January 2027.

Venue Box Office & Current Prices

Ticketpipe

LoveTheatre.com

Lovetheatre.com. Charge around 10% booking fee per ticket. They are owned by Ambassador Theatre Group (ATG) and often have good deals on shows at ATG venues.

See Tickets

See Tickets. Charge around 10% booking fee per ticket, plus £2.75 per booking (not per ticket) postal charge. They are owned by ticketing group Eventim.

Ticketmaster

Ticketmaster.co.uk. Charge around 8% to 10% booking fee per ticket. Handling fees may also be added. This is the largest ticketing agency worldwide.

TodayTix

TodayTix. Charge between 10% and 20% booking fee per ticket. Discounts are often available as this is a large global ticketing company with this specific aim.

London Theatre Direct

Londontheatredirect.com. Charge between 10% and 25% booking fee per ticket. Discounts are frequently available. Part of Trafalgar Theatre Group, known for customer service and unique offers.

No policy announced.