Jane Austen’s popularity shows no sign of diminishing over two hundred years after her death and new adaptations of her best-known works keep appearing, with a new film version of ‘Sense & Sensibility’ currently doing the rounds. Fans of the novelist typically point the subtlety of her humour and sharp observations of the foibles and rigidities of upper-class society during her time. It is perhaps ironic that her best known work has now been turned into an in-yer-face farce that is anything but subtle and yet somehow remains true to both the story and spirit of the novel.
The grandiose set immediately hits you, with a huge sweeping staircase and floor-to- ceiling bookshelves bringing over the opulence and splendour of Austen’s world. However, this is a treatment so all the colours are varying shades of DayGlo pinks and lilacs, perhaps echoing the fact that this is an all-female production, although certainly not feminist! Various props are brought on to indicate key elements in the story with a modern twist (there is no record in Austen’s novels of chocolate Wagon Wheels being served to guests on silver platters nor servants standing by copious amounts of Iron Bru at high society balls). Everything essentially needed to faithfully tell the story is faithfully represented, albeit in one form of another with certain liberties taken.
This is a quick-fire production by Isobel McArthur, after Jane Austen, with the each of the five-strong cast playing multi-roles and the pace rarely slacks with scenes quickly morphing from one to the next through clever lighting changes and some very slick movement of props. The backdrop of light blue skies frequently changes to a starry night or twilight, indicating both scene changes and passages of time whilst spot-lighting is also used to great effect. In fact, the whole show is a class act in the creative use of stage lights.
Naturally, the key element is the characters and white underdresses form the default costume of all the cast, often for narrations, with men’s coats used to represent male characters and full colourful dresses for the female characters. This works largely through powerful, over-the-top characterisations and the audience is never in doubt as to which characters are on stage. Frequent fast-flowing exchanges are juxtaposed to the sedate pace of life and conversation in Austen’s society, with the stairs and balcony used to excellent effect together a number of hidden doors allowing for more or less constant exits and entrances; one of the hallmarks of a good farce.
Another medium is used to tell the story that is certainly not in keeping with the period; songs from the 60’s, 70’s and 80’s, each carefully chosen to fit the narrative. What better song to sing to the proud Mr Darcy than Carly Simon’s ‘You’re so vain’ and with all the effeminate fops and polite gentlemen to whom the Bennet sisters are subjected, is it any wonder they should want to sing Bonnie Tyler’s ‘I’m looking for a hero’? The songs might a slight effect of panto but they work, aided by some fine musicianship from the cast themselves, carrying the show along in a raucous rollercoaster of laughs, intrigue and frolics.
The cast of five is supplemented by three swings so you don’t know exactly who will be stage for each performance, which is remarkable considering the sophistication of this production. A personal favourite is Julia Murray if only for the fact she manages to keep a straight face for (almost) the entire production), even singing The Partridge family’s ‘I think I love you’ with the solemn, deadpan humour we might expect from Mr Darcy.
The show is pure fun with the weaved-in songs giving a feelgood atmosphere and the over-the-top acting almost Pythonesque yet somehow remaining pure Jane Austen.
Pride & Prejudice (sort of) is on at Buxton Opera House until 10th October and touring nationally.
https://buxtonoperahouse.org.
Reviewer: John Waterhouse
On: 05.10.26
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