Love in a Cold Climate

PRIDE & PREJUDICE

The Crescent Theatre, Birmingham, Saturday 23^rd September 2023

Cited by many people as their favourite book, Jane Austen’s masterpiece is quintessential romantic comedy to the stage by director James David Knapp, who has also scripted the adaptation.  It begins with Elizabeth narrating that famous opening paragraph, but she is interrupted by her mother, Mrs Bennet, running on and off, calling for her husband.  Instantly, the tone of the production is established: it’s going to be reverent to the source material, but it’s also going to be a lot of fun.

Knapp has gathered a fine ensemble to populate the piece.  The Bennet daughters are all differentiated so it’s easy to keep up with who’s who – and a lively, girly bunch they are – ranging from the mature grace of the eldest Jane (Bethany Hibbert) to the excitable rivalry between Kitty (Lauren Woodhall) and Lydia (Naomi Davis).  Head of this unruly household is Mr Bennet – William Hayes in a charming performance, the perfect foil for Skye Witney’s garrulous and histrionic Mrs Bennet, the comic backbone of the show.

Also hilarious is Nathan Hawkins as the oleaginous clergyman Mr Collins.  We revile his pompous egoism but revel in the portrayal.  Hawkins can get a laugh just by walking on.

Karen Kelly gets her moment to shine as the horribly snobbish and self-important Lady Catherine de Battleax, and I wanted to see more of Lewis Nunn’s dastardly Wickham, dapper in his uniform and ponytail, who turns out to be something of a Russell Brand figure.

But of course, any production of this story hinges on its central couple, Elizabeth and Mr Darcy.  And these two do not disappoint.  He is haughty and aloof, his black clothes marking him apart from the rest.  Alisdair Hunt is perfectly cast.  When his emotion finally gets the better of his reserve and erudition, the sparks fly.  He is more than matched by the object of his reluctant affection.  This Lizzie is far from as vulnerable as she appears.  In fact, Jessica Shannon can express as much with one glance as an entire speech.  And so, when their final union occurs, as we all know it must, it’s a satisfying release of tension.

For me though, the most touching moment came when Mr Bennet said Goodbye to Jane (if I may quote Slade!) – in a moving exchange that caught my tear ducts by surprise.

Knapp’s script sparkles with Austen’s dialogue and observations.  His direction keeps the action clear, capturing the mannerisms and formalities of the era.  He incorporates some convincingly period choreography, courtesy of Michael Barry, and as ever at The Crescent, the costumes are spot on, and so are most of the hairstyles!

Where I take issue is with the minimalistic set.  Three pairs of flats of decreasing size create wings.  The cyclorama is mostly bare (the full moon makes a couple of appearances).  And everything is white, including the floor.  You could be forgiven for expecting to see Pride & Prejudice on Ice.  And so it’s all rather barren and cold, and could be anywhere and anywhen.  Any colour comes from the lighting, but that only goes so far.  Me, I would have decorated the flats with something to tie them into the period the costumes capture so excellently: an architectural feature, perhaps, even just a bit of trellis!  I would have greyed the floor, and painted the chairs to match Mary Bennet’s wheelchair.  The spartan set saps the warmth from the characters and the story, and this is a shame because everyone is working so well.

Although I was charmed by this spirited retelling, I’m afraid the setting left me cold.

☆ ☆ ☆ ☆

Alisdair Hunt and Jessica Shannon as Mr Pride and Little Miss Prejudice (Photo: Graeme Braidwood)

Austen and Ostentation

SENSE AND SENSIBILITY

The Attic Theatre, Stratford upon Avon, Friday 16^th June 2023

Jane Austen’s beloved novel from 1811 is brought to life in this elegant adaptation by the reliably excellent Tread The Boards.  Director John-Robert Partridge goes all out with the accents and mannerisms of the time, his job made easier by the judicious choice of splendid costumes.  It’s a good-looking show.

Partridge also appears as the hen-pecked John Dashwood, whose subservience to his wife casts his widowed mother and his three sisters into hardship, consigning them to a Devonshire cottage, away from the society they know and crave.  Matilda Bott gives us her Fanny – the formidable Mrs Dashwood – in a deliciously snobby performance, with hints of ferocity.  When it comes to funding her unfortunate in-laws, this Fanny is tight. Bott is also exquisitely funny later on as the chatty Charlotte Palmer. This production is a splendid showcase for her talents.

Lesley Wilcox’s Widow Dashwood has dignity, accepting her reduced status with decorum.  Her daughters are another story.  Rosie Cole’s repressed Elinor, seeks to hide her emotions, almost Vulcan-like, but Coles’s eyes and physical tension betray Elinor’s true state of mind.  Also excellent is Stephanie Riley as the headstrong and passionate Marianne.  These two sisters are the opposing forces of the title: thought vs feeling, to put it another way.  Meanwhile, Emily Tietz tears around as wild-child third sister Margaret, prior to a more refined appearance as Lucy Steele later on.

The mighty Robert Moore perfectly embodies the shyness of Edward Ferrars, a potential suitor for Elinor, doubling up as the taciturn Mr Palmer, casting sneering remarks from behind his newspaper to hilarious effect.  John-Robert Partridge also portrays the upright Colonel Dashwood, the moral heart of the piece, with assurance and authority, in contrast with James Crellin’s rakish Willoughby, the cad and bounder who turns Marianne’s head.

There is fine support from Dawn Bush’s breathless gossip Mrs Jennings, and Andrew Woolley’s affable Sir John.

It’s all played out in front of Adam Clark and Sue Kent’s multi-purpose set design, with Kat Murray’s lighting enabling the director to stage two scenes simultaneously. Even scene changes are carried out gracefully, while period piano music tinkles away, enhancing the mood.

A sophisticated rom-com that retains the wit of the source material and delivers an emotional kicker of a denouement.

Utterly charming.

☆ ☆ ☆ ☆ ☆

Rosie Coles as Elinor (Pic: Andrew Maguire Photography)

Austen Powers

SENSE AND SENSIBILITY

The Crescent Theatre, Wednesday 28^th June, 2017

 

Jessica Swale’s adaptation of the Jane Austen novel whizzes along at quite a lick, condensing the action without cutting any of the important bits.  What couldn’t be clearer is the chauvinism of the age and the restrictions placed on women: they can’t inherit, they can’t go anywhere alone with a man – both of which are important plot points.  Mrs Dashwood and her daughters are dispossessed after her husband’s death and find themselves in reduced circumstances, swapping the family’s grand home for a little cottage near Exeter.  Suitors come calling, scandals come to light… On the surface, it’s a frothy rom-com but beneath it’s a biting social satire.  The wry wit of Jane Austen powers the exchanges and fuels the dramatic irony of the situations.

Karen Kelly makes a warm-hearted matriarch as Mrs Dashwood – her announcement of her husband’s death is strongly handled.  Naomi Jacobs is suitably restrained and fretful as the serious Elinor; Elinor is the ‘Sense’ of the title, ruled by her head; Marianne the ‘Sensibility’, ruled by her heart and her impulses.  Both are played well but I would like more contrast  between them.  Stephanie Cole’s Marianne who could do with being giddier or at least smiling more, especially from the off.  When reading poetry, she should really go for it.  Charlotte Upton, in a convincing portrayal as little sister Margaret, seems to embody both aspects of heart and head, in her childlike thirst for knowledge and honest reactions to events.

Thomas Leonard looks the part as the dapper Edward Ferrars, but could do with being a little bit more cut-glass in his delivery of Austen’s erudite dialogue.  Jacob Williams makes a pleasant Mr Willoughby, while James Lewis amuses as the sarcastic Mr Palmer.  Jordan Bird offers strong support as faithful servant Thomas but Adam Ragg’s Colonel Brandon is a particularly fine characterisation: the stiff-upper lip, the British reserve, the gentlemanly qualities.  Decency oozes out of him.

The evening belongs to Laura Poyner, superb in both her roles.  Provincial Mrs Jennings’s vulgarity and lust for life is in stark opposition to her snobbish Mrs Dashwood – her Fanny is a joy to behold.  The stage comes alive whenever Poyner is on and most of the cast is able to match her energy and commitment.

James David Knapp’s direction keeps the action clear in this stylish and slick production that should do well on its tour of other venues.  His original music is bittersweet and evocative.  Above all, the play serves as a showcase for the excellent costume team at the Crescent, with flawless and impressive work from Vera Dean, Pat Brown and Olivia Barnes.  Keith Harris’s simple yet elegant set: three period doorways among a landscape of books proves a versatile backdrop.

An enjoyable comedy of manners that brings a classic book to life in an accessible and entertaining way.

Mrs Dashwood and her daughters. Stephanie Cole, Naomi Jacobs, Karen Kelly, and Charlotte Upton. (Photo: Graeme Braidwood)

Bostin’ Austen

PRIDE AND PREJUDICE

The REP, Birmingham, Tuesday 8^th November, 2017

 

Not the Donald Trump story but Jane Austen’s finest and funniest novel, brought to the stage in this touring production by Regent’s Park Theatre, in a sparkling adaptation by Simon Reade.

Reade captures the wit of the dialogue and the spirit of each character, and director Deborah Bruce includes moments of broader comedy, as well as linking scenes with stylised sequences that evoke both period, character and storytelling.  Choreography plays a huge part in creating atmosphere and adding to the fun, courtesy of movement director Sian Williams and beautiful, haunting music composed by Lillian Henley.  The characters, dressed by Tom Piper, inhabit the elegant revolving set (designed by Max Jones) – decorative railings and sweeping staircases serve for all locations, aided by Tina Machugh’s expressive lighting.  Production values are high and the excellent cast lives up to them.

Felicity Montagu is in superb form as Mrs Bennet, desperate to marry off her five daughters to whomever crosses their path.  Matthew Kelly is equally delightful as her long-suffering husband and the indulgent father of his brood.  Of the girls, Hollie Edwin certainly looks the part as the pretty one, Jane, and Mari Izzard bounces around as the spirited one, Lydia.  Of course, it is Elizabeth who is our focus, winningly played by Tafline Steen, tempering Elizabeth’s headstrong nature with charm and humour.  Benjamin Dilloway towers over proceedings as a sour-faced but handsome Mr Darcy and it’s not long before we are willing the pair to get together, in this quintessential rom-com.

There is strong support from Steven Meo as the insufferable parson Mr Collins and Daniel Abbott is a suitably dashing and roguish Mr Wickham.  Dona Croll impresses as the haughty Lady Catherine De Bourgh, a forerunner of Lady Bracknell, and I also like Kirsty Rider’s snobbish Miss Caroline.

Elizabeth and Darcy may be the stars but it is the double-act of Montagu and Kelly, two seasoned performers with exquisite comic timing, that have the star quality among this comparatively young and inexperienced ensemble.  Mr and Mrs Bennet are a joy to behold.

Delivered with a lightness of touch, this is an utterly charming evening at the theatre, a refreshing retelling of the classic tale.  Austen seems as fresh and funny as she ever was and her wry observations of human nature, albeit in a rarefied and bygone milieu, still delight and ring true.

Felicity Montagu and Matthew Kelly stealing the show (Photo: Johan Persson)