“Pride and Prejudice* (Sort of)” is a breath of fresh air at the Nottingham Theatre Royal, offering a bold and cheeky twist on Jane Austen’s timeless romance. Direct from its acclaimed West End run, this production won the Laurence Olivier Award for Best Comedy, and it’s easy to see why. Blending Austen’s original wit with a playful sense of humor and some unexpected musical interludes, this adaptation is anything but conventional. The result is a high-energy, fast-paced romp that captures the spirit of Austen’s classic while fearlessly departing from its more restrained tone.
The entire cast of this production, remarkably, is composed of just five women, all of whom take on multiple roles in the story. They shift between the different characters with astonishing speed, often swapping from one persona to another in mere seconds. Set against the backdrop of Austen’s original tale of romance, class, and family dynamics, these actors double as “below-stairs” servants who are not only telling the story but also getting in on the action themselves, acting out the events of Pride and Prejudice with a raucous energy that is completely their own.
Among the talented cast, Emma Rose Creaner truly shines. She masterfully juggles a range of characters, bringing to life the affable Charles Bingley, his snobbish sister Caroline, and the awkward but loyal Charlotte Lucas. Creaner’s ability to switch between these roles, often with nothing more than a small costume change or an altered expression, is a feat in itself. But beyond her technical skill, it’s her comic timing that really stands out. Whether she’s delivering a snappy line or just reacting to the chaos unfolding around her, Creaner manages to draw laughs even in moments of silence—her mere presence on stage is enough to keep the audience engaged and amused.
Equally captivating is Rhianna McGreevy, whose dual portrayal of the aloof Mr. Darcy and the overbearing Mrs. Bennett is nothing short of impressive. Darcy, with his brooding intensity, contrasts sharply with Mrs. Bennett’s frantic energy, yet McGreevy nails both roles with finesse, drawing out the humor in each. Her performance as Darcy is particularly entertaining, injecting moments of vulnerability into the famously stoic character, while her Mrs. Bennett is delightfully over-the-top, reveling in melodrama in the best possible way.
Isobel McArthur’s script is another highlight of the production. The writing is sharp, clever, and accessible, ensuring that both Austen aficionados and those unfamiliar with the source material can enjoy the show. McArthur has managed to distill the essence of Pride and Prejudice—its biting social commentary, its romantic tension, and its vibrant characters—into a script that feels fresh and contemporary. The dialogue is packed with laugh-out-loud moments, but it also retains a level of affection for Austen’s work, never mocking the source material but rather reimagining it through a modern, irreverent lens.
The decision to frame the story from the perspective of the servants at Longbourn is a stroke of genius. This choice not only adds a unique layer to the narrative but also allows for a playful commentary on the class dynamics at the heart of Austen’s novel. The servants, who in the original story are largely invisible, become the storytellers, adding a new dimension to the familiar tale. Costume Design from Ana Inés Javares-Pita do a wonderful job to remind you of this framing device, developing beautifully elaborate costuming allowing for quick changes but mostly still revealing the servant attire. McArthur’s direction, in tandem with Jos Houben’s expert comedy staging, keeps the action moving at a brisk pace, ensuring that the audience is constantly entertained without feeling overwhelmed by the whirlwind of activity on stage.
One of the more unexpected elements of the production is the use of pop songs, which are woven into the story in the style of karaoke hits. Some of these musical numbers land perfectly, enhancing the comedic tone and adding a modern twist to the 19th-century setting. For instance, “Holding Out for a Hero” fits so seamlessly into the narrative that it feels as though it was written specifically for this adaptation. The song elevates the dramatic tension of the story’s romantic stakes, adding a layer of humor and excitement that delights the audience.
However, not all the musical choices are as successful. At times, the insertion of a song can feel forced, breaking the flow of the narrative or stretching a comedic moment too far. While the songs are undeniably fun, their overuse in certain parts of the show risks becoming repetitive. Nonetheless, the production never relies too heavily on these musical moments for its humour, and the broader comedic approach remains consistently inventive and engaging.
What truly makes Pride and Prejudice* (Sort of) stand out is its refusal to rest on predictable jokes or well-worn gags. Instead, it continuously evolves over the course of the performance, introducing new comedic elements and keeping the audience on their toes. The production feels fresh from start to finish, with a clear sense that the cast and creative team are committed to surprising and entertaining their audience at every turn.
In the end, Pride and Prejudice* (Sort of) is a thoroughly enjoyable evening of theatre that manages to honor Jane Austen’s original story while offering something completely new. The combination of sharp writing, energetic performances, and surprising musical moments makes for a show that is equal parts charming and chaotic, with plenty of laughs along the way. Although some of the musical numbers may feel out of place, they’re ultimately a minor quibble in what is otherwise a lively and inventive adaptation. Whether you’re a die-hard Austen fan or a newcomer to her work, this production is sure to leave you smiling.
Pride and Prejudice* (*sort of) plays at the Theatre Royal Nottingham until Saturday 26th October 2024 where it will continue its UK tour.
Photography throughout from Mihaela Bodlovic.
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