Of course, the danger with bringing such a celebrated novel to the stage is that those who are devoted to Austen, myself included, cannot but help but compare and contrast it to the original, with the risk that it might end up woefully lacking. Thankfully, this production, although containing some modifications of the novel, retains all the essentials of the story and much of the original dialogue, making it completely satisfying to this Austen devotee, and very likely creating some new converts along the way.
The story revolves around the Bennet family set in the early 1800s. There are five daughters and no sons, with the possibility that if one of them doesn’t make a financially advantageous marriage, they could all end up destitute, because the Bennet estate is entailed to a male era. Since there isn’t one, after Mr. Bennet’s death, the estate would go to his cousin, Mr. Collins.
Back in a time when women had no real viable means of support, securing a good marriage was the only way a woman could improve her lot. Beyond the social realities of the time, though, this story has some of the most interesting, ridiculous, and admirable characters ever written, including the oleaginous Mr. Collins, played with simpering servility by Phil Korth, and the affable Mr. Bingley (a cheerful Brian Patrick Williams).
Mrs. Bingley and her much put-upon husband are played by the perfectly cast professional actors, the emotive Laurie Birmingham and the affable Roger Forbes. Elizabeth Bennet, the headstrong, determined, and intelligent heroine is played by the excellent Alexandra Perlwitz.
The stoic and arrogant Mr. Darcy can be a tricky role, and I have seen it portrayed in some film adaptations as one-dimensional and stiff, but here, Kevin Coubal succeeds in making the character complex and human. And he’s handsome too, “which a young man ought likewise to be if he possibly can,” to quote Elizabeth Bennet.
I also love how Mr. Wickham, played by the fine Ryan Guess, who seems so debonair and appealing at first, becomes fatuous as his real character becomes evident.
The numerous period costumes by Laura Crow are spot on, while the single set, by Travis George, is versatile — accommodating multiple scenes.
I resisted the screen projections at first, by Mark Novick, feeling that they are more a hindrance than helpful, but after a while, I came to appreciate them. The English accents feel forced by some, but I much prefer the mostly successful attempts, rather than leaving them out altogether.
If at all possible, go see this glorious production of Pride and Prejudice.
Stage review, Pride and Prejudice: Four stars.
