Witty, rowdy and hysterically funny, the Newcastle Theatre Royal’s production of Pride and Prejudice (*sort of) brings Jane Austen’s humour to life for a modern audience. This charming twist on the quintessential romantic comedy reimagines the Bennet sisters’ adventures through karaoke pop hits and slapstick comedy galore.
Through an all-female cast of five, director Isobel McArthur’s vision is clear in celebrating Pride and Prejudice as a female coming-of-age story at heart, not just a romance. The performance started and ended by bringing to light the roles of overlooked household servants who held the master keys in framing the story. Eleanor Kane shone as the neglected Mary Bennet and agonisingly bland Mr Collins, turning two forgettable roles into among the most amusing characters. Naomi Preston Low’s Elizabeth Bennet was as snarky and bold as Austen’s beloved heroine, using humour to bring her rebellious independence to life (such as being dragged by her ankles away from Mr Collins). The ingenuity of Mr Bennet’s presence, conveyed only by a newspaper open above an empty chair, reinforced the female-centric nature of the story.
The characters were easily recognisable for both seasoned Austenites and newcomers to the Pride and Prejudice world. The actors seamlessly switched between multiple roles within seconds, facilitated by Ana Inés Jabares-Pita’s clever costume design, using memorable period clothing to help the audience follow the character changes. Rhianna McGreevey in particular mastered the art of switching between the hysterical Mrs Bennet and the aloof Mr Darcy. The performance showcased the multi-talented ensemble, making the most of musical comedy, through pop performances and playing a range of instruments.
The script included anachronisms to shock the audience, with the Regency era eloquence of the original novel being lost to startling profanity, such as Mrs Bennet swearing at her children when demanding they be more ladylike. Unlike adaptations such as Netflix’s Persuasion, that lost Austenian charm through modernising the dialogue, this well-balanced reimagination of Austen’s chef d’oeuvre for a contemporary audience gave a new life to a well-worn story, simultaneously laughing at it and celebrating Austen’s timeless genius. Whilst the odd slapstick display was over-exaggerated and bordering on farcical, McArthur’s wit shone through by giving a modern spin on Austen’s signature humour.
Jabares-Pita’s set design integrated the modern into the period-esque staircase and furniture. The Meryton ball setting conveyed by a kiosk with Irn Brus and red solo cups, marked an unexpected abandonment of Regency grandeur for a teenage flat party aesthetic. Inclusions of fancy appetisers of Wagon Wheels and Viennettas received raucous laughter.
The unpredictable and interactive performance felt more like an elaborate comedy show than a stage production. The fourth wall was dismantled before the performance even started, with the actors taking to the stage before the performance’s start time, as maids cleaned in preparation for the first act. Interspersed audience interaction had Mr Darcy demanding louder cheering from the audience, cautioning them to expect outbursts of song and dance. Colin Grenfell’s neon swirling colourful lights created a karaoke bar atmosphere. With the audience watching in incredulous delight as Lizzie called out Darcy’s arrogance through ‘You’re So Vain’, it is hard to believe Carly Simon wrote it about anyone other than Mr Darcy. Other pop hits such as Bonnie Tyler’s ‘Holding Out For a Hero’ and The Shirelles’ ‘Will You Still Love Me Tomorrow’, could have been cherry-picked by a modern Austen. The audience were active participants, being kept on their toes and never quite knowing what to expect.
With an expertly skilled all-female cast, a never-ending abundance of gags, and about as much energy and laughter as a theatre can hold, Pride and Prejudice (*sort of) is a reimagination of a beloved story that would make Austen herself proud.
Image by Mihaela Bodlovic via Capital Theatres