Culture writer Ella Goldwater reviews a musical adaptation of Pride and Prejudice, exploring how the classic story was made more accessible and exciting through music, comedy and design
It is a truth universally acknowledged that a student in possession of a small fortune must be in want of a memorable evening out, and McArther’s Pride and Prejudice* (*sort of) offers just that. The fierce 5-women cast condenses the familiar tale that we know and love into a 2-hour long flurry of theatrics and song, somewhat maintaining each character’s comedy and wit as Austen intended.
Their wit and conversational banter guide the audience through the production’s twists and turns
The story is narrated by 5 servants, giving voice to the lower class often overlooked in Austen’s writing. Their wit and conversational banter guide the audience through the production’s twists and turns, between kitsch karaoke numbers from Carly Simon’s You’re So Vain to Etta James’ At Last.
While keeping the mood light and fun, the musical interludes slightly distract from the flow of the action, an unnecessary interruption to the production’s energetic pace. Given the limited cast, however, the brilliantly quick costume changes allow for the introduction and development of numerous characters, the Bennet sisters transforming seamlessly into their male counterparts and back.
Each member of the Bennet family fits a classic, relatable character trope, from the self-pitying Mrs Bennet to her overly romantic youngest, Lydia, the nerdy yet lovable Mary, oldest and most sensible daughter Jane and the rule-defying, sarky Elizabeth. As their strong personalities collide and the girls navigate the trials of the Regency period dating game, shocking truths emerge that dramatically alter the course of the plot. Each daughters’ quest for love is not without its share of struggles on the route to achieving lifelong happiness.
While the main storyline stays true to Austen’s Pride and Prejudice, the production fuses a
traditional Regency backdrop with modern, everyday props, a reference to the timelessness of Austen’s work. The play does not boast a luxurious set design, but feels comfortingly homemade, bringing the elegance of early 1800s high society down to the audience’s level to immerse them in the drama. A Tesco bag seems somehow apt beside an antique settee. The speech is far from the wordy English of the original novel, instead riddled with quick one liners and amusing profanities unbefitting of Austen’s traditional setting. The humour, while unmissable and effective, lacks some of the discretion so masterfully adopted by Austen throughout the novel.
The humour, while unmissable and effective, lacks some of the discretion so masterfully adopted by Austen throughout the novel.
Pride and Prejudice* (*sort of) effortlessly transforms an 18th century classic into a friendly evening of singalong music, dance, comedy and colour. The musical sensitively explores the ever-relevant issues of class divide, reputation and sexism, the all-female cast proudly declaring Austen’s beliefs in the individualism and freedom of women. Avid Pride and Prejudice readers may note the absence of the 5th Bennet sister, Kitty, an unfortunate consequence of the compact cast.
Yet despite the mere 5 actresses and the production’s limited duration, the depth and complexity of Austen’s novel shines through beneath the unconventional modern additions to her story, renewing the audience’s appreciation of her literary genius. Whether a die-hard Austen fan or a general theatre enthusiast, this unique adaptation of Pride and Prejudice is accessible to all and isn’t one to be missed!
Rating: 4/5
Pride And Prejudice* (*sort of) is playing at the Wolverhampton Grand Theatre until 19th October 2023.
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