Pride and Prejudice* (*sort of) – Theatr Clwyd, Mold

Writer/Director: Isobel McArthur

Jane Austen’s classic romance gets a riotous makeover in Pride and Prejudice* (*sort of), a fast-paced comedy packed with pop songs, which sees five performers take on the entire world of Austen’s novel.

From the outset, the production has an infectious energy. In fact, it begins before you might even realise the show has started, with the lights still on and the audience settling into their seats as the performers emerge through the doors, casually dusting and tidying around the auditorium. It is a clever way to draw the audience into the world of the production before the story has even begun.

From there, Grace Farrell, Georgia May Firth, Eva Hope, Julia Murray and Phoebe Marshall switch between characters at remarkable speed. The five performers appear as servants putting on their own version of Austen’s story, beginning in simple white maid dresses before transforming into the characters they play, adding coats, overdresses and other period details as they go. It could be a confusing concept, but the performers make it feel beautifully clear, transforming characters with quick, precise shifts in voice, movement and costume. The constant costume changes become part of the comedy rather than distracting from it, and the pacing rarely lets up.

The production design works just as hard to maintain its pace. Isobel McArthur’s direction, alongside Jos Houben’s comedy staging, keeps the action precise without making it feel overly choreographed, while Ana Inés Jabares-Pita’s set and costume design allows the five performers to transform in front of us. The simple maid costumes gradually become the elaborate period dress of Austen’s world, with each addition helping to establish a new character. Ryan Stafford’s lighting design further helps to shift the atmosphere as the story moves between scenes, complementing the production’s energetic visual style.

The production breaks the fourth wall throughout, drawing the audience into the action rather than keeping them at arm’s length. The interaction feels natural and inviting, helping to maintain the sense that the audience is part of the world being created on stage.

The songs add another layer to the production, with the cast delivering familiar pop numbers with beautiful vocals woven naturally into the action. Julia Murray is a particular standout, moving effortlessly between the frantic Mrs Bennet and the more reserved Mr Darcy. Her voice changes with each character, giving them their own distinct personality, while her comic timing makes each appearance memorable.

The modernisation works equally well. Contemporary references and jokes sit comfortably alongside Austen’s characters, bringing a freshness to a story that audiences may already know extremely well. Most importantly, it is consistently funny, not just in bursts. The cleverness of the concept never becomes the point in itself; instead, the multi-roling becomes the engine that keeps the production moving.

Pride and Prejudice* (*sort of) takes a story we think we know and finds plenty of new ways to have fun with it. With its quick changes, familiar songs, audience interaction and five performers doing an extraordinary amount on stage, it makes Austen’s world feel surprisingly fresh.

Runs until 3rd October 2026