This is a helter-skelter, wildly hocus-pocus new interpretation of Jane Austin’s classic Pride and Prejudice. While completely off the wall, it has an intriguing modern twist, while still sticking to the essentials of the story.
While I am fairly sure most are familiar with the story, it would be hard to follow if not. Following the recent trend of entering a theatre to be met with an open lit set and actors appearing and in action, the cast of five appear cleaning the set. It opens with a group number, and then they introduce themselves as the real backbone of society, the servants, who keep everything going.
Good to see two local actors in a touring production, Susie Barrett from Newcastle and understudy Isobel Donkin from Washington. The multitalented cast also includes Emma Rose Creaner, Rhianna McGreevy, Naomi Preston Low, Christine Steel and further understudy Georgia May Firth. I say multitalented, as all play numerous parts, including the men, at the flick of a wrist, play various instruments and sing.
The modern songs give it contemporary feel, but I could not get to grips with the ‘language’ used. Speech should reflect the character’s background and life, so one can imagine a servant working girl possibly using the ‘f’ word; however, the word seems at conflict with the Bennet girls having being brought up to be circumspect and polite, sod, piss or even bugger off maybe, but not f**k. It brought a laugh when they uttered it, but felt like it was there only to get cheap humour and not necessary, as there were a lot of them already.
The cast often address the audience directly, almost in a pantomime fashion, but it makes one feel part of the story, and especially as the production is a ‘bit off the wall’ anyway, they get away with it. The costumes (and set, Ana Ines Jabares-Pita) which stick to a mid-19th century style, are well designed, as their simplicity adapts wonderfully to the numerous constant changes; it’s amazing how versatile a threefold screen can be. The writer Isobel McArthur, also director, is aided by an associate director, Martin Leonard, and assistant director, Finlay Glen. There is also, a comedy staging member, Jos Houben, not common in my experience, as usually this is the role of the director. The set is well used and organised, moving effortlessly from one location to another, incorporating various exits and a grand staircase.
Austin wrote this classic in 1813, and it would be interesting to know what she would have thought of this production, with this interpretation set in 1880s. It is rare that I laugh out laugh, but this certainly made me, along with the many bursts of laughter and guffaws; I can see why it won the Olivier Best Comedy Award. All in all, it is a jolly, upbeat, humorous evening of entertainment and puts a new light on this original romantic comedy, as the packed theatre would agree. Plenty of time to see it, as it tours nationally until 14 June 2025.