Writer: Jane Austen
Adaptor: Isobel McArthur
Directors: Isobel McArthur and Simon Harvey
It is a truth universally acknowledged that any review of an adaptation of Pride and Prejudice must be in 
want of a witty summary to open it that clearly enumerates where the production falls short and which is in the style of Austen’s famous aphorism. Except that this adaptation is not in want of anything; it’s as perfect as it can be. At its heart, there’s a story that is pretty faithful to the novel, but there’s so much more. Austen’s sense of the absurd in the Regency era is brilliantly brought out in witty, laugh-out-loud scenes. The natural humour is supplemented by the cast’s impeccable comic timing and impressive physical skills. And yet, after the interval, we find ourselves empathising with the protagonists as the story’s twists and crossed wires seem to make a happy ending impossible – with an audible gasp of relief at the eventual dénouement. Along the way, there are apposite pop songs so well chosen as to have one wondering if they were all along in want of a Pride and Prejudice adaptation in which to feature.
This adaptation is certainly contemporary in its dialogue – there’s some strong language at times but it complements the moods in Isobel McArthur’s script so perfectly that one can’t imagine that it isn’t in Austen’s original. The set from Ana Inés Jabares-Pita is on a couple of levels linked with a sweeping staircase that appears, like much of the furniture, to be made of books. It includes hidden doors used to allow for quick farcical entrances and exits. At the beginning, we’re introduced to the cast of five: dressed in simple linen shifts, they are the servants of the house. They remind us that good servants combine invisibility with being all-seeing and present us with the story, each taking multiple roles. It’s very fast-moving, but the quickfire changes of costume, demeanour and voice enable us to keep track of exactly who is who at any time. The direction ensures that, while the production moves briskly along, it never feels rushed and the musical interludes do add to the experience. Yes, some of the characterisations may lack depth and be a touch cartoonish – Leah Jameson’s playing of the unutterably tedious William Collins and Megan Louise Wilson’s insufferable Lady Catherine de Bourgh are cases in point – but this never detracts; rather it heightens the comedy and allows us some breathing space within the story.
The neurotic Mrs Bennet is brought to us by Dannie Harris, bringing out her increasing desperation to marry off her daughters. Harris also doubles as D’Arcy, bringing a superb distance to him and his awkwardness with women. Emmy Stonelake plays the feisty Elizabeth Bennet, with terrific physicality and a cracking, soaring singing voice, belting out pop standards with gusto, including a particularly fine rendition of You’re So Vain.
This is a production that bursts into life from the beginning and never lets up. We’re whisked along loving every moment of tightly choreographed silliness while still feeling for the characters and their predicaments. Whether you’re an Austen fan or not, this is a show not to be missed.
Runs until: 22 April 2023 and on tour
The Reviews Hub Score
Not to be missed
