Review: The P Word Returns to Bush Theatre With Original Cast

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Waleed Akhtar’s play is tender, heartfelt and genuinely moving

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What a joy it is to see Olivier Award-winning The P Word returning to the Bush Theatre , along with original cast members Esh Alladi and Waleed Akhtar . A deeply moving, heartfelt and important play for our times.

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Bilal, played by Akhtar, is a British Pakistani who has been bullied at school for being overweight, brown, and gay. To attempt to escape these memories, he has become Grindr and gym-addicted, changing his name to Billy and leaning into soulless hook-ups with white men. He has swagger, living a hedonist lifestyle and eschewing Pakistani traditions, but is increasingly aware that he has never had a loving relationship.

Zafar, played by Alladi, is a Pakistani claiming asylum in the UK, fleeing threats to his life after his gay lover was murdered on the orders of his father. Zafar views liberal London with wonder as he waits in limbo for a Home Office decision on his claim. He is vulnerable, poor, but craving normality, not pity.

When they come together, meeting at Pride, the pair have gorgeous chemistry. The mens' lives could not be more different, but both are distanced from their families due to their sexuality. Akhtar's script shows the very believable scenario of awkward friendship developing into something much more sincere.

Alladi is incredibly likable as Zafar, haunted by the death of his lover, but determined to chew on any bone of opportunity that comes his way. Alladi is hugely sympathetic as he navigates the often cruel asylum process of the UK, but deftly offsets this with goofy charm and quiet dignity so the darkness of his seemingly desperate situation is never overwhelmingly bleak.

Akhtar adroitly shows Bilal's hidden vulnerabilites and innate kindness, that develops along with his friendship with Zafar. His gruff voice and spiky attitude at the beginning softens into warmth and compassion as he realises the value of his friendship with Zafar, and then how deeply he really cares.

Directed with thought by Anthony Simpson-Pike , Akhtar's writing could easily slip into worthy sentimentality, but both men's characters are so well drawn that you believe in them utterly, rooting for them to get together. Cleverly, Akhtar's Bollywood-style drama towards the end of the show threatens to pour syrup over the whole production, until a neat trick right at the end knocks every member of the audience off course.

A small niggle is slight underdevelopment of Bilal's relationship with his estranged family. We hear they are reluctantly tolerant of his sexuality if they can ignore it and Zafar reportedly encourages him to spend Christmas with them, but it is treated very much as an aside.

This is also a play about kindness; the consideration that Zafar shows Bilal when he is a drunk and vulnerable stranger; the concern shown to Zafar by a female Muslim doctor, contrasting with the humiliating treatment he is subjected to by UK border guards. The care that Bilal shows Zafar is beautifully drawn- meals out paid for and clothes given without ceremony. When Zafar presents Bilal with a detailed piece of embroidery he has has to scape for every bit of thread to make, it is enough to make you weep.

Max Johns ’s rotating circular dais stage is simple but effective, as the actors can speak independently from their own sides and then come together. There is very considered work by Rachael Nanyonjo on movement direction as the men express their feelings in either constant motion or moments of stillness.

This wonderful revival is a reminder of why The P Word was such a worthy Olivier Award-winner. A vital and intensely thought-provoking production.

The P Word is at the Bush Theatre until 27 June

Photo Credits: Craig Fuller

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_Originally reported by [BroadwayWorld](https://www.broadwayworld.com/westend/article/Review-THE-P-WORD-Bush-Theatre-20260602)._