A Punny Pride and Prejudice

Jane Austen seems to be everywhere these days... 

Photo by Dan Norman

And I suppose that makes a lot of sense, right? After all, her female-driven worlds have enchanted readers for over 200 years; in the era of #metoo, doesn't it make sense to revisit the origins of girl powered literature?

Photo by Dan Norman

Thankfully for audiences this means that we get to enjoy oodles of witty adaptations and new fan fiction works on a host of different stages. Kicking it all off is Park Square Theatre with Pride and Prejudice, perhaps Austen's most famous work, as adapted by Kate Hamill. Hamill is one of the most produced playwrights in America for three years running, and this show is a perfect way to encounter her work.

Photo by Dan Norman

As much as Austen seems ubiquitous to me, it has come to my attention that there are still many people unfamiliar with her catalog. For those to whom that applies: most simply told, Pride and Prejudice is about how the Bennets, a family of five sisters, survive the process of matchmaking as wealthy eligible bachelors move to their county. Their mother is determined to marry them off in any manner she possibly can and drives towards this goal with fearsome energy; this seems silly at first, but when considered in the context of English history (and remembering that women were not allowed to own or inherit property), begins to make a bit more sense. The trouble is that the girls are all very differently tempered and their goals do not always align with their mother's. Throw in some good old-fashioned classism, pride and classic farcical misunderstandings and assumptions, and you have a perfect recipe for romantic comedy shenanigans. By the end everyone's story lines are sorted (this is a happy story) and reveal some surprisingly profound insights into human nature that are still quite relevant in our social media age.

Photo by Dan Norman

Park Square's production of Pride and Prejudice really plays up the comedy. The dynamic young cast clearly enjoys hamming it up, and the audience was rolling in the aisles for much of the show. The tone overall was a little too loud for me at some moments - for example the constant clanging of bells felt a little overwrought and overstimulating - but that said it didn't seem to bother the rest of the audience. Several actors play multiple characters, and hats off to them because the quick switches were pulled off extremely well.

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I really enjoyed China Brickey in the starring role as Elizabeth Bennet. She's long deserved her turn in the limelight, and this is a great part for her to shine in. Sarah Richardson is wonderful as Jane Bennet and Lady Catherine, with a warm presence that is pitch perfect as Jane and provides a comedic highlight as both in the final scenes. George Keller makes a very good Mrs. Bennet, hitting all the levels of hysteria you'd expect while still driving home Mrs. Bennet's very realistic fears. McKenna Kelly-Eiding, who I adored in Park Square's Sherlock Holmes: Baskerville a couple years ago (which is coming back - don't miss it!), is a star as the irritating Mr. Collins and devious Mr. Wickham. She clearly relishes her gender-bending roles, and I can't imagine anyone else playing those parts. Kiara Jackson is an enthusiastic Lydia, and Paul Rutledge conveys Mr. Darcy's stoicism well. Alex Galick is charming as Charlotte Lucas and Mr. Bennet, and I found his portrayals of both quite sweet. And the clear audience favorite was Neal Beckman as Mr. Bingley, Mary and Miss DeBourgh. Beckman throws his best Abbott & Costello into these roles, and I see a bright future for him in the world of physical comedy.

Photo by Dan Norman

The production design of this show was a mixed bag for me. The set, designed by Annie Katsura Rollins, is quite postmodern, opening on a completely open stage (no curtains to disguise the wings, no scrims, no major set pieces - everything is laid bare to the naked eye) with a boxing ring taped out on the floor. This allows us to watch the characters set, tear down, and dress for each scene. While initially distracting I think it did work in the end, and helped trim a few minutes off the lengthy near-three hour run time. Hats (or bonnets, I suppose) off to properties designer Josephine Everett who has assembled a dizzying array of props to support the story. I'm not sure how they keep it straight, but they do! Because so many folks are playing multiple characters, the costumes (designed by Sonya Berlovitz) are pretty simple and focus more on suggestion and ease of transition than period-level detail. I was selfishly hoping for a little more period-piece luxury in the overall production design. What is here really works - it just wasn't the lavish old school style I was yearning for. I do think this barer approach really helps modernize Pride and Prejudice and as such will bring it to the attention of new, younger audiences, and that's an admirable goal.

Photo by Dan Norman

Pride and Prejudice was one of my favorite books growing up, and Jane Austen is an eternal favorite for me overall. She manages to wrap such profound messages into a highly digestible package, and audiences of all types can enjoy and relate to her stories. Think of Pride and Prejudice as the funnier, British version of Little Women (which is also enjoying a renaissance and has been adapted for the stage by Kate Hamill). It's got a little bit of everything you want in a play - laughs, drama, intrigue, and a whole lotta heart. It's a great family-friendly show for holiday season; click here to get your tickets at Park Square before the show closes on December 22. And if you can't get enough of the Jane Austen wave, you're in luck: stay tuned for reviews of the Jungle Theater's original Pride and Prejudice-themed holiday play Miss Bennet and the Guthrie's coming adaptation of Emma.

Photo by Dan Norman