More than two centuries after its publication, Jane Austen's Pride and Prejudice remains one of literature's most beloved romances, celebrated for its social observations, sparkling wit and enduring examination of class, marriage and first impressions. Published in 1813, the novel follows Elizabeth Bennet and the enigmatic Mr Darcy as misunderstandings and prejudice gradually give way to love.
In Pride and Prejudice (*sort of), writer Isobel McArthur gives Austen's classic a modern makeover. Told from the perspective of the household servants, with just five performers - Amy Lehpamer, Zoe Ioannou, Kaori Maeda-Judge, Ruby Shannon and Teo Vergara - playing every role, the Olivier Award-winning production combines breakneck costume changes, pop anthems and irreverent humour while retaining the heart of Austen's story. The result is an inventive reimagining of a tale that is fresh and funny.
The quintet form a wonderfully energetic ensemble as they act, sing, and play an assortment of instruments - including piano, guitar, glockenspiel, and violin - with boundless enthusiasm. Lehpamer brings an aching vulnerability to Charlotte Lucas, with the production’s queering of her relationship with Elizabeth adding a layer of tenderness. Her unspoken love and resigned acceptance of a marriage to the insufferable Mr Collins provide some of the show’s most affecting moments. Ioannou is a riot as the frantic Mrs Bennet and just as deliciously theatrical as the aloof Mr Darcy, leaning into the production's heightened style with gusto.
Shannon is equally impressive with her comic timing as the overlooked Mary as well as when she throws herself wholeheartedly into the excess of Lydia and the pompous Mr Collins. Vergara makes for an engaging and spirited Lizzy, balancing wry humour with a warmth that keeps the audience on side, while Maeda-Judge moves seamlessly from the sweet and gentle Jane to the imperious Lady Catherine de Bourgh.
Interspersed throughout are a host of familiar songs, from Carly Simon's "You're So Vain" to Etta James' "At Last", with the soundtrack cleverly giving voice to emotions that Austen's buttoned-up English society keeps firmly repressed. Under Simon Harvey's playful direction, the show delights in its anarchic spirit, although the first act occasionally struggles to maintain momentum, with long stretches between musical numbers causing the pace to dip.
Thankfully, the second act hits the ground running. Songs are more frequent, the comedy grows increasingly outrageous and the energy from the cast ramps up. By the time we reach the exuberant finale, Pride and Prejudice (*sort of) has embraced its own joyful chaos, making for an immensely entertaining evening.
The period costumes are well-considered, from colourful Regency gowns to the extravagantly over-the-top ensemble worn by Lady Catherine. With all actors in chunky black Doc Martens, the design captures the show's blending of old and new, and signalling that this is Austen with a rebellious streak. The servants remain in plain white shifts and petticoats, with the economy of the costume changes proving effective in signalling character shifts.
Austen famously wrote that "one half of the world cannot understand the pleasures of the other". Judging by the laughter and applause that greeted this production, Pride and Prejudice (*sort of) has no such problem. Bold, cheeky and unexpectedly poignant, it proves that even the most well-known stories can still surprise us when viewed from a different perspective.
SHOW DETAILS
Venue: Comedy Theatre, 240 Exhibition Street, Melbourne
Season: Until 11 July | Tues - Wed 7pm, Thurs - Fri 7:30pm, Sat 2pm and 7:30pm, Sun 3pm
Duration: 150 mins, including a 20 min interval
Tickets: $30 - $149
Bookings: Ticketmaster
Image credit: Matthew Chen
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