{"id":6561,"date":"2026-08-25T09:05:57","date_gmt":"2026-08-25T09:05:57","guid":{"rendered":"https:\/\/relocationobserver.com\/?p=6561"},"modified":"2026-08-25T09:05:57","modified_gmt":"2026-08-25T09:05:57","slug":"pride-musical-to-transfer-to-bridge-theatre-from-november-director-says-bigger-venue-means-the-comedy-will-really-benefit-from-more-people-watching","status":"publish","type":"post","link":"https:\/\/relocationobserver.com\/?p=6561","title":{"rendered":"\u2018Pride\u2019 Musical to Transfer to Bridge Theatre From November; Director Says Bigger Venue Means the \u2018Comedy Will Really Benefit From More People Watching\u2019"},"content":{"rendered":"
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\n\t\u201cPride,\u201d the joy-filled British musical based on the true story of Lesbians and Gays Support the Miners (LGSM), will transfer to London\u2019s Bridge Theatre from Nov. 12, following sold-out seasons at Cardiff\u2019s Sherman Theatre and the National Theatre\u2019s Dorfman space.<\/p>\n

Read more Hilary Strong Stepping Down From John Gore Studios<\/a><\/p>\n

\n\tThe production will mark the inaugural show at the Bridge Theatre, a 900-seat venue on the Thames near Tower Bridge, under its new ownership by Trafalgar Entertainment.<\/p>\n

\n\t\u201cPride\u201d reunites the creative team behind the acclaimed 2014 film of the same name: director Matthew Warchus (\u201cMatilda the Musical\u201d) and writer Stephen Beresford (\u201cThe Last of the Haussmans\u201d), who wrote the musical\u2019s book and lyrics. Set during the 1984 U.K. miners\u2019 strike, the show follows 24-year-old activist Mark Ashton as he rallies LGSM to form an alliance with a striking mining community in South Wales.<\/p>\n

\n\tThe musical features an original score by Christopher Nightingale, Josh Cohen and DJ Walde, drawing on protest anthems, pop, rock, disco and the Welsh choral tradition. The transfer cast includes Samuel Barnett as Jonathan, Matthew Durkan as Mike, Gillian Elisa as Gwen, Chris Jenkins as Gethin, Darren Lawrence as Cliff, Kirsty Malpass as Hefina, Madeleine Morgan, Sarah Pugh as Si\u00e2n, Caroline Sheen as Maureen, Courtney Stapleton as Steph and Matthew Woodyatt as Dai, with further casting to be announced.<\/p>\n

\n\tSpeaking with Variety<\/em> ahead of the transfer, Warchus says he always treats a remount as a chance to \u201cget access to it again and make little fiddly improvements and changes.\u201d He never approaches an opening night as a finished product, he says: \u201cThe opening night is a record, a document of where you got to in the amount of time you had and with the resources that you had.\u201d<\/p>\n

\n\tThe move to a bigger house, he says, will also change how the production\u2019s comedy and sound design land. \u201cThe difference between 800 people laughing and 400 people laughing is more than double,\u201d Warchus says. \u201cI think the comedy will really benefit from more people watching.\u201d He points to the show\u2019s layered sound design \u2013 the birds of Wales, chapel bells, the chants of striking miners, the cheers of the Pits and Perverts benefit concert \u2013 as an element he expects to intensify rather than dilute in a larger room. \u201cSound design always works better in larger spaces,\u201d he says.<\/p>\n

\n\tWarchus adds that the production\u2019s essential character, built on simplicity rather than spectacle, will not change with the move. \u201cIt\u2019s still going to be a story that\u2019s got a handmade feel to it,\u201d he says. \u201cVery basic props, no glitzy automation or hydraulics or anything like that.\u201d<\/p>\n

\n\tThe \u201cPride\u201d film bowed at Cannes \u2013 where it won the Queer Palm \u2013 and went on to be distributed globally. Beresford draws a parallel to audience reactions when the film was first released. \u201cThere were reports in cinemas all over the world that at the end of the screening people would applaud as though it were a stage production,\u201d he says, adding that theater audiences have taken to hugging strangers and sharing tissues by the end of a performance.<\/p>\n

\n\tAsked whether the story, set 40 years ago, has taken on new relevance, Beresford points to a line from a review of the film that has stayed with him: \u201cPrejudice cannot survive proximity.\u201d He says the story\u2019s emphasis on LGSM members physically showing up for a community unlike their own still resonates. \u201cIt\u2019s the proximity that matters,\u201d he says.<\/p>\n

\n\tWarchus recalls watching a performance alongside recently appointed U.K. Prime Minister Andy Burnham and noticing how the audience responded whenever the word \u201chope\u201d appeared in the lyrics. \u201cIt was like a bell being rung,\u201d he says.<\/p>\n

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\n\tThe stage adaptation followed two decades after Beresford first tried to get the story told on screen. \u201cIt took me 20 years to get the film made,\u201d he says. \u201cNobody would touch it, the film, with a bargepole.\u201d Warchus says the pair spent a couple of years weighing whether to attempt a musical version at all, wary of tampering with a project both are proud of. \u201cYou have a strong sense of why what kind of idiot messes with something,\u201d he says. \u201cBut then, on the other hand, it\u2019s quite painful if some other putz messes it up and you don\u2019t get a chance to do it.\u201d<\/p>\n

\n\tWarchus credits Beresford\u2019s writing as the reason he has anything to direct in the first place. \u201cI wouldn\u2019t have known the story if Stephen hadn\u2019t written it up and added his own angle to it,\u201d he says. Beresford, in turn, says what drew him to Warchus was an aversion to visual spectacle for its own sake. \u201cDirectors who say, \u2018I\u2019m going to CGI this and the camera\u2019s going to swing underwater and then it\u2019s going to\u2019 I just it\u2019s white noise to me. I\u2019m not really interested,\u201d he says, adding that their work together on the film centered on character. \u201cWe talked about who they were and what they wanted and what they didn\u2019t want,\u201d he says.<\/p>\n

\n\t\u201cAnd in making a musical \u2013 Matthew has made a lot of musicals \u2013 but he has a fantastic detailed eye. And I think we complement each other very well and have the same taste, largely,\u201d Beresford adds. <\/p>\n

\n\tAsked how the show balances the AIDS crisis and the defeat of the strike against its comedy, Beresford says the two are inseparable. \u201cOne of the most subversive and powerful weapons at our disposal is humor and cheerfulness and the particular black humor that comes from living through adversity,\u201d he says. He recalls a 2015 Pride march where Anne Scargill, then the wife of former National Union of Mineworkers president Arthur Scargill, approached him. \u201cShe said, \u2018You\u2019ve made the truest film about the miners\u2019 strike that\u2019s ever been made,’\u201d Beresford says. \u201cAnd I said, \u2018Anne, we both know that is not true.\u2019 And she said, \u2018It is. Because it\u2019s funny.’\u201d<\/p>\n

\n\tOn the decision to commission an original score rather than build the musical around existing songs, as the film\u2019s beloved soundtrack had done, Warchus says jukebox musicals tend to interrupt their own storytelling. \u201cThe songs stop the story every single time they turn up, because they can\u2019t carry the story,\u201d he says. \u201cA true musical is a completely different thing, and that\u2019s what we wanted to do.\u201d<\/p>\n

\n\tDesigner Bunny Christie\u2019s set, built around the idea of a touring production that has \u201ccome out the back of a minibus,\u201d was a deliberate choice, according to Warchus, who says he grew up watching similar scratch-built touring shows in the 1980s. \u201cThat\u2019s definitely in my blood,\u201d he says, adding that the production also layers in \u201ca rock-and-roll lighting rig\u201d to give the show the feel of a live concert during its Pits and Perverts sequence. Warchus says he gave Christie a physical brief during an early workshop, taping off a square around a crowd of test performers to demonstrate how much stage space the show\u2019s crowd scenes would require. \u201cI need it to be this crowded when we\u2019re doing the Pride march or an event happening,\u201d he recalls telling her. \u201cTherefore, I need the stage to be this small, this size.\u201d<\/p>\n

\n\tBeresford and Warchus also address criticism that the musical understates the role of LGSM\u2019s lesbian members, a group that in real life numbered around 40 to 50 people, some of whom broke away to found the support group Lesbians Against Pit Closures. Beresford says the real-life group had to be condensed for the stage, with composite characters like Reggie and Steph standing in for several real activists. Warchus says the show\u2019s small ensemble size, which has to account for understudies across both the Welsh and LGSM characters, further limited how many roles could be written. \u201cWe worked out we could have seven people,\u201d he says. Beresford notes the production made a point of casting an all-female band. \u201cThey\u2019re the lesbian band,\u201d he says. \u201cThey represent the lesbians.\u201d<\/p>\n

\n\tAsked what Ashton, who died of an AIDS-related illness in 1987, might make of the musical, Beresford describes him as a natural showman. \u201cHe was a huge, huge theatric,\u201d Beresford says. \u201cHe loved camp \u2026 his whole political process was about making things fabulous.\u201d He adds that Ashton would likely have one specific complaint. \u201cHe would be frustrated that I do not have a song which literally is the entire Communist Manifesto set to music, perhaps to a samba beat,\u201d Beresford says. Warchus says he expects Ashton\u2019s reaction would mirror those of LGSM members who have already seen the show. \u201cI hope that he would laugh uproariously, and I\u2019m sure that he would cry,\u201d he says.<\/p>\n

\n\t\u201cPride\u201d previewed to sold-out houses at the Sherman Theatre before opening at the National Theatre\u2019s Dorfman in June, where it runs through Sept. 12. The musical is produced by P&P Productions in association with the National Theatre, Path\u00e9, Calamity Films and David Binder Productions.<\/p>\n

<\/p>\n

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‘Pride’ the musical will transfer to London’s Bridge Theatre from Nov. 12, following sold-out runs in Cardiff and at the National Theatre.<\/p>\n","protected":false},"author":1,"featured_media":6560,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[885],"tags":[5095,5096,5097,5098],"class_list":["post-6561","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-theater","tag-bridge-theatre","tag-matthew-warchus","tag-pride","tag-stephen-beresford"],"yoast_head":"\n\u2018Pride\u2019 Musical to Transfer to Bridge Theatre From November; Director Says Bigger Venue Means the \u2018Comedy Will Really Benefit From More People Watching\u2019 - Relocation Observer<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/relocationobserver.com\/?p=6561\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u2018Pride\u2019 Musical to Transfer to Bridge Theatre From November; 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