Madcap, mischievous mayhem
Kate Stratford
4.5 Stars
Venue: Sydney Opera House
Drama Theatre
Dates : Until August 30th
It is a truth universally acknowledged that Jane Austen’s Pride and Prejudice has inspired more adaptations, interpretations, spin-offs and perspective twists than any other novel in the history of English Literature. There is something very resonant about the story of Pride and Prejudice which is more than just an enemies-to-lovers scenario; for although it invented the trope, Austen was not writing a romance.
Strip back the novel to its fundamental elements, you have themes of family, patriarchy, friendship, duplicity, social class and reputation. Being a Bennet sister in Regency England might not seem an identity to which a 21st century woman could relate, but there is much about these characters and their feelings that speaks to the female experience across time, culture and place, and even age. It places gender firmly at the centre, rejoicing in sisterhood and deploring a system which impoverishes women by limiting them and tying income to marriage.
But it is, above all, funny.
This is the space into which Pride and Prejudice* (*sort of) leans. Isobel McArthur’s version is a delicious, madcap romp performed by five triple-threat talents who take us on a juke-box musical tour of the story proving that for women, nothing much has changed over the centuries. Consent, being pretty enough but not too pretty, smart but not too smart, agreeable but not too agreeable, accomplished but not too accomplished … the unending list of caveats.
For the true Austenite, there are a few questionable but very forgivable takes in this show. The characters of Jane and Bingley (affectionately called “Bingers” in our household) are treated as being more thick than self-effacing and nice; there is a playing around with story sequence and the eliminating of many characters (a necessary device here); it is a bit deliciously sweary and has very little direct quoting; maybe there is a little too much vamping of the audience in Act 1. But it remains affectionately respectful of Jane Austen. Except for one instance. The novel’s turning point is Elizabeth’s challenging Darcy with not behaving in a “gentlemanlike manner”. This is the accusation which forces him to take stock of himself, and propels the novel into the second half and the journey to self-realization for both our leads. The “first proposal” is quoted verbatim amongst aficionados. You eliminate it at your peril. It’s a script issue.
McArthur posits five female servants taking on the roles of their employers. It is not a new idea, Pride and Prejudice has been written as Longbourn, a below stairs take on the events of the story. This particular iteration proves the novel crosses all media. Book, stage, film, television, musical and now karaoke. The medium is the message. This could never be film – it has to be a stage experience.
In historically correct undergarments, the five servants create all the essential characters – apart from Kitty – by donning overdresses and jackets with incredible dexterity, speed and accents (snaps to dialect coach Jennifer White).
Amy Lehpamer, Kaori Madea-Judge, Ruby Sahnnon, Teo Vergara and Zoe Ioannou have enviable ensemble chemistry and individual appeal. On their vocal ranges, mastering of accents, comic timing and skill in clowning rests the show’s joy and success. And they do not falter. Lehpamer in particular has a generous presence which draws the eye. Her Charlotte, aching with love for Elizabeth, layers a poignancy to the show whilst her Caroline Bingley beautifully references certain Toorak personalities created by Jane Turner and Gina Riley.
Visually, the set takes us into the world of the novel. A grand, curved staircase, where the risers are the spines of books is offset by flats presenting as bookshelves. Overall, a clever metaphor placing us in the world of a reader. Ana Inés Jabares-Pita’s design includes the aforementioned historically accurate undergarments, which were met with approval by my costume-critical plus one who also approved of the overgarments used to create character. Paired with the back Doc Martin boots, it is clear we have one foot in the there and then and another in the here and now. Jabare-Pita’s original vision is ably supported in this Australian production by costume supervisor Isaac Lummis. As lighting designer, Jason Bovaird creates a clever moment with Lady Catharine de Burgh’s second appearance and the disco ball at Netherfield seemed entirely appropriate.
Pride and Prejudice was the battered novel that accompanied me on my student European travels many decades ago. I read pages of it over coffee in Rome, dusted the sand off it in Mallorca, snuggled it during a winter in Cambridge. I have lost count of how many times I have re-read it, always finding it inspires another train of thought. Now I shall have to re-read again with an eye on Charlotte Lucas and Elizabeth Bennett’s relationship.
And that is the test of a classic work, isn’t it? Not whether a work is beautifully written, though P&P is, not whether it engages seriously with ideas, though P&P does. The test is whether it is about something that will still offer insights when everything surrounding it has changed. P&P does.
photo credit Prudence Upton
Pride and Prejudice* (*sort of) tours nationally. Pride & Prejudice (sort of) | Australia
Kate Stratford, Theatre Now
