“The P Word” at the Bush Theatre

Tom Bolton in West London
★★★★☆
3 June 2026

Waleed Akhtar’s two-hander The P Word returns to the Bush Theatre amid high expectations. Its first run resulted in the 2023 Olivier Award for Outstanding Achievement in Affiliate Theatre, placing author and performer Waleed Akhtar in some stellar company as one of four wins in five years for the Bush, including Richard Gadd’s Baby Reindeer. The production by original director Anthony Simpson-Pike is more than capable of rising to the occasion, although it is salutary that a play about the mistreatment of gay men remains so current.

Esh Alladi and Waleed Akhtar.
Photo credit: Craig Fuller.

The P Word concerns two characters, Bilal or Billy, as he prefers to be known, played by Waleed Akhtar, and Zofar, played by Esh Alladi. Billy is a young, gay British Pakistani man struggling with his ethnic identity. Cycling through constant hook-ups he meets online, he starts to want the stable relationship he’s never found, while distancing himself from his family, who tolerate him only if he does not discuss the fact he is gay. Meanwhile, Zofar is stuck in an asylum-holding pattern in grim accommodation in Hounslow. He fled Pakistan after his father had his lover murdered and threatened to kill him, when he discovered his son’s sexuality.

The play builds slowly. The two characters circle one another without meeting for a significant portion of the evening. A clever set, a raised, split revolve designed by Max Johns, facilitates this and later provides a series of places for the pair to sit and meet when they finally connect.

Both actors give compelling performances. Akhtar shows how Billy is successful at convincing others that he is just in it for the sex and the good times, but becomes increasingly less successful at convincing himself. He lashes out against his own community of Pakistanis – using the ‘P’ word of the title – and Muslims, but he is also funny and charming. It takes Alladi’s wiser but more damaged Zofar to let him see the value of his identity and the absurdity of his cultural assumptions. Alladi’s performance is full of character, enthusiasm, and believable desperation.

There is little doubt from the very start that the pair will get together, but it takes longer than it should for it to happen to be dramatically effective. However, once it does the play really comes alive, and delivers a series of increasingly moving encounters as the pair find out who they really are, and what they will risk to protect one another. From here on in, the audience is fully behind the couple as they experience the brutality of UK immigration, the random homophobia and random kindness of London, and the difficulty of being safe if you are gay, especially if you are also from South Asia.

Akhtar’s play is a powerful statement, highlighting experiences that are little known, and delivering a strong campaigning message about the cruel deportation of queer people from the UK, often to face death. It is an emotionally stretching, intellectually engaging evening that leaves you feeling you’ve experienced much more than a play.