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Not only pride in yourself, but pride in how you feel.” “Pride in yourself is a very important thing. by bill biss


ould you rather be a man in denial about his sexuality in 1958, who is in a heterosexual marriage or a frustrated openly gay man who wants monogamy, yet has a philandering partner


DECADES AN INTERVIEW WITH THE DIRECTOR OF THE PRIDE,


DISCOVERING GAY SEXUALITY IN TWO VERY DIFFERENT


GLENN PARIS


16 RAGE monthly | APRIL 2012


in 2008? If your answer was definitely the latter, that still doesn’t mean that any relationship is a bed of roses. The scenarios presented in Alexi Kaye Campbell’s The Pride, are extremely innovative and offer a parallel presentation of what it means to be a homosexual in two very different time periods. Utilizing the same three actors in each of the two years presented, and with the same names… but in totally different generations and situations is thought-provoking and a sort of coming-to-terms with just how far having pride in who you are has really come. 2011 Craig Noel-winning director for Angels in America Part One and Two, Glenn


Paris took the time to unravel the meaning, emotions and power of The Pride opening at Diversionary Theatre on Thursday, April 5 and running through Sunday, May 6.


Was The Pride a play you had previously seen or was this a case of reading the script and want- ing to direct it? It was a case of reading the script and wanting to direct it. Yes. I had not seen any


of the major productions in London or New York. It’s quite exciting that The Pride is premiering in San Diego, as well. It sure is.


As the story of the play takes place in two very different eras of gay sexuality, do you feel that is a common thread or theme that is at the core of The Pride? Yes, absolutely. One of the characters, Oliver, asserts in the piece, “Pride in your-


self is a very important thing.” Not only pride in yourself, but pride in how you feel. As much as we move toward that position in our sensibility, in numbers and in the community, it becomes political. Does that make sense? Yes, very much so. Campbell [Alexi Kaye] is looking at sexual repression in 1958. This was nine years


out from putting in some protection for gays. Then, how far we’ve come… despite the fact that conflicts as individuals in relationships continue. Having three actors in dual roles, as characters in 1958 and 2008, as a director, is it more chal- lenging to portray them in the rigid 1950s or in the modern time? That’s a good question. (Laughter) The three actors cast in the roles of Oliver,


Philip and Sylvia; I’ve worked with on a number of occasions. I have a short-hand with Brian Mackey, Francis Gercke and Jessica John and feel really confident in their abilities. I think it is very fun for them, to portray characters that are moving between the two eras. I don’t think that one is more of a particular challenge than the other.


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