The Line of Beauty – Almeida Theatre

Alan Hollinghurst’s 2004 novel The Line of Beauty takes its title from William Hogarth’s work on the empirical analysis of aesthetics. Its protagonist, Nick Guest, is obsessed with this idea of beauty; he drifts from gorgeous lover to gorgeous lover, coming alive only for sex and conversations about Henry James; he is enticed by the lifestyle of the wealthy, but doesn’t quite belong in their world. The Almeida’s adaptation of the novel grapples with Nick’s struggle between his aesthete sensibilities and impossibility of life as a young gay man during Thatcherism and the AIDS crisis.

Michael Grandage’s production captures the ‘80s zeitgeist deliciously. There’s ‘80s pop anthems throughout, booming from the radio onstage and smoothing over scene transitions; and, conversely, there’s the ever-present feeling of class division between Nick, his ultra-wealthy Conservative hosts, and his first lover Leo, who lives with his mother and works for Camden Council. Jack Holden’s script captures perfectly the essence of how rich, privately educated families act behind closed doors, making for an effortless (and slightly uncomfortable) source of comedy.

There’s a lot going on in the story, and it’s easy to see how this might have been easier to handle in a novel than a play. The first half expertly sets up Nick’s personal trajectory along with wider cultural narratives: it feels as though there was very little going on in ‘80s London that it doesn’t try to address, and consequently it’s difficult to tie up all the threads in the second half. The highest-energy point of climax is a confrontation between Nick and Gerald, his Tory MP landlord and father to his close friend. It’s a well-performed shouting match, but feels somewhat unearned as relatively little stagetime is dedicated to the relationship between the two men.

The rise of HIV is mainly background to begin with, until the Feddens’ close relative dies from AIDS and the family goes into denial about it. Although not strictly closeted, Nick’s sexuality is generally hushed by circumstance, whether he’s trying to save the feelings of his family friends, or maintain a relationship with a man who has a paid girlfriend. This feeds into the storyline, which generally shies away from any discussion of the epidemic until characters start dying. It’s heartbreaking to see Leo’s sister Rosemary convey the news of her brother’s death on a tour of his ex-lovers. AIDS brings Nick’s line of beauty to an end, whether he is positive or not.

A beautiful and slick production highlighting the difficulties of queer life in Thatcherite London, The Line of Beauty reads as a story fit for a novel. It would have been exciting to see some bolder choices in its stage adaptation, but the script is wonderfully funny, and each character is brought to life by a magnificent cast and crew that make it a joy to watch regardless.

Reviewer: Holly Sewell

Reviewed: 29th October 2025

North West End UK Rating: