By Neil Durham

WORTH A LOOK?: *****

WHEN?: Friday 13 November, opens 23 November and runs through 8 May 2027 RUNTIME: 160 minutes (including 20-minute interval)

This re-imagining of the 2014 Imelda Staunton-starring film was the hit of the summer alongside Redcliffe and transfers to the 900-seater Bridge from the intimate Dorfman at the National Theatre.

• Read on for reasons including why this is the early favourite to win next year’s Olivier for Best Musical

It’s based on a true story of the 80s support by a London-based group of fundraising lesbians and gay men for striking miners in Wales.

We longlisted it for Best Musical, Best Theatre Actor for Samuel Barnett and Best Performance Of A Song for Barnett’s number You Might As Well Live.

Elsinore writer Stephen Beresford explains in the programme: ‘I think people are inspired by it because it’s about 2 groups of people you would never expect to connect.’

Director Matthew Warchus writes: ‘When I read this, it made me laugh out loud a lot, which is quite surprising given the cloud of AIDS hanging over the story and the defeat of the miners in the strike.

‘There’s something about it that makes you want to punch the air and cheer. It restores your faith in humanity.’

Barnett’s activist Jonathan has the show’s 1st standout number – the utter abandon of I Miss Disco (listen below) – on the dancefloor of the Welsh miners’ club as unexpected inter community similarities are discovered under the mirrorball.

It makes a real difference to have a song list in the programme and we get to know Sarah Pugh’s MP-to-be Sian so much better during her moving and far from Ordinary.

This is our 4th visit to Pride and it’s during act 2 bangers You Might As Well Live (read our earlier summer Dorfman review for why), Bloody Good Night Out (listen below) and the anthemic Light Perpetual when it really flies.

New cast members include Dan Hand as Bromley, Ryan Kopel as Mark and Carl Spencer as Reggie and the decision to recast in this way appears to have been to emphasise their youth when compared with Barnett’s Jonathan which works well.

This is the early favourite to win next year’s Olivier for Best Musical and, in the words of 1 of its bangers, a Bloody Good Night Out. Now we just need its soundtrack to be released so we can enjoy this magnificent score on repeat – and repeat.

• Main pictures by via Facebook courtesy Bridge Theatre Tickets
• Have you seen a Samuel Barnett show before and what did you think of it? Let us know what you thought in the comments below
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