Pride and Prejudice
The classic Jane Austen novel is brought to life ‘in the round’ of the Tyndale Theatre, with gentle performances from all that entertain whilst raising the consequences of quick judgement and questioning the motivation to marry. The story is primarily about Elizabeth Bennet, swift to judge a Mr Darcy, who similarly forms harsh opinions about Miss Bennet and her family – and the narrative explores how they reconcile their pride and prejudice. It’s told against the background of the Bennet matriarch who knows her daughters must marry well to preserve the family name (and keep a roof over her head). The five daughters have their own ideas: to marry for love, or not to marry at all, and the eligible men of the area host balls and parties to be introduced, to flirt, and to find love when logic says otherwise.
Janet Fletcher’s adaptation of Austen’s most famous novel stages the eligible men and women of Meryton as items to be auctioned. Annie Matsouliadis’ Auctioneer strides to announce ‘Lot 1’ and people with programmes look curiously at the gentlewomen and gentlemen, posing in picture frames as if works of art.
This theme brackets many of the scenes as we are introduced to the players of the story, and Fletcher, who also directs, has created distinct characters to help us navigate the ‘marriage market’ and the difficulties of marrying for love, rather than money or status.
The Bennet family consists of five sisters barely contained by their parents – Bronwyn Ruciak is their frustrated mother, garnering plenty of audience sympathy for trying to help, and plenty of laughter when she gets it wrong. John Hudson’s Mr Bennet is more wry, and knows his daughters are more than capable of stating their own cases.
Trinity Witzmann’s Jane, the eldest, expertly balances decorum and love for Mitchell Allen’s Bingley. Olivia Bennett’s Mary is great at the bookish sister, Tal Wilhelm’s Kitty is suitably giggly, following around Madeleine Riggs’ Lydia, who commands the stage with her charming naivety and contemporary sass.
Genevieve Hudson shines as Miss Elizabeth Bennet, the headstrong, sometimes wrong daughter, whose principles and dry wit are clearly on display as she stands up to the power of Lady Catherine, the insincere charm of Mr Collins, and the apparent indifference of Mr Darcy himself. Yet Hudson is best when her thought processes translate into facial expressions – a wonderful performance of confusion and realisation.
Kyle McAuliffe’s Darcy begins impatiently, but like Hudson, McAuliffe steps up when his emotions are challenged, and whether angry or in love, he is just the right amounts of polite and dominant. Danny Gauthier’s Mr Collins is a gem: oft presented as a slimy man, Gauthier instead breathes into Collins an air of naïve confidence, someone who knows he’s a catch, whilst being unaware of how others avoid him.
The set is minimal – chairs, a table, and the picture frames that also become the doors to the stage. With the audience on all four sides of the performance space, it’s impossible not to have your back to someone, and Fletcher’s awareness of the space tries to ensure this doesn’t obstruct the storytelling. It’s mostly successful, but there are times when the action is pushed too far into the four corners of the space – and the audience strains to see dual conversations played out at opposite ends. The lighting is excellent and helps the audience find the players; the music is the Regency wallpaper – and the compulsory dance is well choreographed and executed by the ensemble.
It's a gentle adaptation that brings a new angle to the ‘marriage market’ of the day, with strong performances from everyone – and it’s a well spent two hours out of the hubbub of the city.
Review by Mark Wickett
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