This is the year of Jane Austen—250 years since her birth—and what better way to celebrate it than to take her most famous novel, Pride and Prejudice, giving it all the humour and wit she intended but a whole lot more, making it one of the funniest plays of the year. I believe she would have enjoyed it.
We begin with the Bennet parents at breakfast—he intent on his book, she trying to engage him in her worry that their five daughters have yet to find suitable husbands—and is he aware that a very eligible bachelor has moved into a neighbouring property—and when is Mr Bennet going to do something about it? Not a lot, it seems, as he continues reading his book, but he doesn’t always tell his wife everything.
After this cosy domestic scene, typical of many breakfast conversations I imagine, the stage evolves into a whirlwind of activity (top marks for ‘movement’ by Amy Lawrence throughout the show), and the three amazing cast members whisk through all of the characters in the story with incredible speed and slickness, yet without at all losing the thread, keeping each character very much in focus.
Three actors, however brilliant, cannot increase their numbers, so dance partners are rather lacking. Why not use hats or a frock coat to simulate a partner and carry on dancing? Sounds crazy—but it works! In the same vein, a sash, a ribbon or a pair of glasses can change one character into another, changing expressions and mannerisms at the same time without missing a beat.
i seem to remember that last year, the set included a lot of furniture which the cast managed to rearrange between scenes. This year, Neil Irish has dispensed with most of the furniture leaving only a large wardrobe (essential for many quick changes of clothes) and, for the same reason, a clothes rail with multiple garments. A table and two chairs are now all that is necessary, giving the cast plenty of space and the audience more of a chance to admire his costume designs.
There are seventeen characters in this production. April Hughes is delightful in the principle role of intelligent but strong-willed Lizzy Bennet, and then slips on a pair of dark-rimmed glasses to become neighbour Mr Bingley.
Sarah Gobran is the pragmatic Mrs. Bennet, daughter Jane, friend Charlotte Lucas, haughty and spiteful Caroline Bingley and both Mr. and Mrs Gardiner (you have to see it).
The very versatile Luke Barton is the calmly reading Mr Bennet, the hated / finally loved Mr. Darcy, the no-good soldier Mr. Wickham and the boring clergyman Mr. Collins who, for his own self advancement, wants to marry one of the daughters—any of them will do!
Barton is also the housekeeper, Mrs. Reynolds, and manages to put himself literally into the picture as the very handsome and adored master of the house, one of the most hilarious moments of the play needing a great deal of speed and expertise. He stands, stony faced and stern, for his transformation into wealthy aunt Lady Caroline de Burgh, carefully wrapping his gown around himself but not moving until he has his tiara firmly on his head—the sideburns seem totally irrelevant!
Through it all, although it seems playful and is exceedingly funny, it is very true to Austen’s story and beautifully told.
One final thought: don’t be too hasty in rushing off at the end. The curtain call is definitely one worth waiting for.