Pride at the National Theatre
Posted on Sun 02 August 2026
Yesterday, I went to see “Pride” at the National Theatre with a friend.
I absolutely loved the 2014 movie when I first saw it in a small cinema in Munich. Since then, I must have seen it ten times or more and still cry every time I see the 1985 Pride march in the final scenes of the movie. I love the story, the character interactions, the soundtrack … all of it! Thus, back in April, when I saw posters—somewhere deep in the bowels of King’s Cross & St Pancras underground station—advertising a musical adaptation of Pride, I was equal parts excited and apprehensive.
I needn’t have worried—the musical is excellent. The movie’s writer Stephen Beresford and director Matthew Warchus (both of whom have stage experience) have taken up the same roles for the musical. Both versions share a spirit of joy and solidarity, an emotional depth and many lines of dialogue. However, the musical is far more than a simple copy of the movie. The only song that made the transition from the movie to the stage is “Bread and Roses”, a traditional song of the women’s suffrage and labour movements; the collection of mainly 80s hits on the movie soundtrack was replaced with original songs written for the musical. These span genres—from rock to disco to folk—and help bring different settings and communities to life.
The original songs are sometimes also used to pause the main storyline and put a spotlight on a particular character or topic. In one instance, this fell a bit flat for me: Siân has a solo number describing being torn between her new-found confidence and her doubts about leaving the safe, well-known role as mother and wife in the small village; yet we already saw indications of her growth woven through many earlier scenes and I did not feel the song added much. Other times, the spotlight adds to the experience, far beyond what the movie was able to show. This is best visible when it comes to HIV/AIDS: In the movie, the HIV/AIDS pandemic is a regular presence, but we only really feel its impact on a single character, Mark Ashton. In the musical, we get a song staged like a vigil, with candles being lit first one-by-one in actors’ hands, then in droves across the back of the stage, mourning the many brothers, friends and lovers lost. It’s an emotional gut punch that shows the scale of the pandemic and its devastating effects on communities. Yet the musical doesn’t dwell on the misery. It finds hope and friendship everywhere and even the emotional roller coaster ride that Jonathan takes us on right after the intermission was handled with aplomb.
In the closing scene, we hear about the real-life future of several characters and about the National Union of Mineworkers’ vote that incorporated gay and lesbian rights into the Labour Party’s manifesto in 1985. For the eleventh time (or more), I have tears streaming down my face. It is, somehow, even more moving in this setting.
Overall, “Pride” is a great adaptation of the 2014 movie. It is also a brilliant musical in its own right, according to my friend (who had neither seen the movie nor heard the real-life history before). All remaining showings have been sold out for months, but if you can get any returns or try your luck in the Friday Rush, it’s well worth it.
Now, if you’ll excuse me, I will spend the rest of the evening on the couch, reading about the true story behind “Pride”. (I bought that book at Gay’s The Word, of course.)