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Peer Reviews Pride and Prejudice Reviewed by Keith Waits Entire contents copyright © 2008, Keith Waits, all rights reserved
Jane Austen is one of those writers whose influence is still present in the popular entertainments of today; even the most mudane of television sitcoms find their seed in her work, published more than a century ago. Her greatest and most enduring story has always been Pride and Prejudice, and Actors Theatre of Louisville has now given us a new and sparkling stage adaptation from former ATL head Jon Jory.
I am embarrassed to say that I have somehow failed to ever read the book or see any previous adaptation, but at least I could approach this production with little preconception. I was surprised by the fast-paced, farcical tone that Mr. Jory brought to the material. The first 20 minutes were particularly boisterous and absolutely hilarious, as the characters are introduced and the scenario established with rapid dialogue and swift and sure movements across the broad stage. It was a frothy concoction that at times reminded me of the work of Alan Ayckbourn, the brilliant modern English playwright. Eventually things settle down a bit, scenes are allowed to play out and the relationships are established. We meet the Bennett family, mother, father and their five unmarried young daughters, Lydia, Jane, Kitty, Mary and, of course, Elizabeth. We encounter a variety of other characters, many of them suitors for one or more of the Bennett sisters, but the one with the most impact is the handsome Mr. Darcy. Although he and Elizabeth Bennett display disdain for each other's attentions during the bright and funny first act, this being Jane Austen, there seems little doubt what the eventual result will be. After intermission, the plotting gains complexity and some measure of serious purpose rises to the surface, as intrigue leads to various romantic match-ups and passion begins to override the slapstick. But while Elizabeth's eventual capitulation to her feelings for Darcy are well presented in an earnest and thoughtful performance by Alexandra Tavares, Anthony Marble's Darcy remained a cold fish. While dashing and authoritative in the role, his declarations of love were less than convincing. Perhaps Mr. Jory was undercutting the "happy" ending of the story by suggesting that Ms. Austen's "ideal" romantic pairings aren't all they are cracked up to be. The remaining cast was well-chosen, and played the intoxicating mix of farce and romance with great aplomb. It was great fun to see V. C. Heidenreich return to the ATL stage, playing Mr. Bennett with sly wit and affection, and as his wife, Peggity Price adroitly steals every scene she is in with perfectly pitched comic asides. The other Bennett sisters were essayed with charm and style by Allison Moy, Emily Cedergreen, Lada Vishtak and Katherine McLeod, who was especially endearing as the bookish Mary. Special mention must be made of Joel Van Liew's dexterous and carefully judged buffoonery as Mr. Collins, Elizabeth's pompous early suitor, as well as Pat Nesbit's intimidating and imperious Lady Catherine de Bourgh. All of the quick entrances and exits were aided immeasurably by Paul Owen's gleaming sets, which, with a two-story centerpiece facade consisting of six doorways, was the perfect device for staging this unique take on the classic. The costumes by Marcia Dixcy Jory were sufficiently grand and beautiful but also built for speed, so that the quick changes and rapid scene changes never seemed to tax the actors. A brisk and fresh take on what for many will be an overly-familiar classic, it proves the durability of the first and grandest romantic comedy.
Pride and Prejudice
Posted Oct. 4, 2008
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