A hearty, beautifully stylised story of being queer and Pakistani in today’s Britain, which reaches beyond the transaction of performer and audience.
Waleed Akhtar’s The P Word is both an example of theatrical brilliance and a testament to the power of theatre as a storytelling medium. The play is Olivier Award-winning, and witnessing its raw emotional pull at Bush Theatre as part of its Pride Month programme, it is easy to see why. With a team of acclaimed theatre-makers and familiar faces attached, the anticipation surrounding this production felt electric.
Directed by Anthony Simpson-Pike, Artistic Director of Theatre503, the play carefully intertwines two stories. Initially presented as separate narratives, we meet Billy, played by the playwright himself, Waleed Akhtar, and Zafar, played by Esh Alladi. Both men are of Pakistani heritage, yet their experiences of queerness are markedly different. While Billy struggles with self-hatred and a cycle of one-night stands, Zafar is navigating the trauma and displacement of exile from Pakistan. Max Johns’ minimalist set design keeps the focus firmly on these two individuals as their inner worlds and personal struggles unfold. The in-the-round staging further enhances a sense of interconnectedness; as Billy and Zafar are seen, so too is the audience.
Rachael Nanyonjo’s movement direction is superb, and the two performers provide all that is needed to deliver such a visceral narrative. Zafar’s pain is evident in the anxious twitching of his body during sleep, while Billy’s fixation on fitness, appearance and masculinity is reflected in the press-ups he performs throughout the play. The sparse use of props and carefully considered costume choices allow the humanity of The P Word to come to the fore. Billy sports fresh trainers and fashionable branded clothing, while Zafar’s loose-fitting shirt and worn jeans quietly communicate his vulnerability and instability.
While these elements alone would be compelling, the performances are outstanding. Alladi’s portrayal is often heartbreaking; his attention to the physical effects of trauma is beautifully realised through trembling limbs and guarded body language. Akhtar provides the perfect counterpart. His performative confidence and skilful multi-rolling subtly reveal Billy’s underlying insecurity. Although Billy initially appears rooted in recognisable stereotypes of gay male culture, this characterisation ultimately serves a purpose. As Billy and Zafar grow closer, shifts in posture, movement and physicality reveal Billy shedding his performative armour while Zafar slowly begins to lower his own defences.
The P Word only becomes more powerful as it unfolds, expanding into something that feels far greater than the confines of the stage. The focus on Zafar’s asylum case carries immense weight, while references to contemporary British politics and global events reinforce the urgency of its themes. It becomes clear that the romance between the two men is only part of the story. The deeper tragedy lies in the systems people like Zafar must navigate, and in the internalised homophobia and racism that often go unseen.
The ending is devastatingly effective. By breaking the fourth wall, the production reminds us that this is not simply a work of fiction, but a reflection of lived reality. The in-the-round staging proves particularly powerful here, ensuring that everyone in the room is seen. Alladi’s final moments draw particular attention to this shared act of witnessing. The P Word is a demonstration of both the beauty and necessity of theatre. With only two bodies on stage, it reminds us of what we all are—human—and what we should never stop expressing: our humanity.
This show runs at Bush Theatre until 27th June. Tickets here.