In 2009, the stage adaptation of Jane Austen’s Pride and Prejudice debuted at the Milwaukee Repertory Theater. It was directed by J.R. Sullivan who, along with Joseph Hanreddy, the artistic director of the Milwaukee Rep, retrofitted Austen’s complex romance novel into a theatrical production.
That adaptation is being used as the blueprint for a top-notch staging of Pride and Prejudice currently underway at Costa Mesa’s South Coast Rep (through October 9). But, just because it’s more or less the same play doesn’t make it the same show. Under Kyle Donnelly’s innovative direction, several tweaks and adjustments have been made to Sullivan and Hanreddy’s translation of Austen’s pages to the SCR stage.Set on the cusp of the early 19th century, Pride and Prejudice is a delicate and emotionally nuanced period piece. Its intricate relationships, sewn together through a web of historic English customs and culture, are well suited to a novel’s format. To make a dramatic entrance into the action of Pride, however, Director Donnelly makes a bold and unanticipated choice.
Donnelly dares to add a character to the proceedings: a present day teenage female (Claire Kaplan) with a pink steak running through her mane. She’s initially blasting her ears with some sort of noisy mu-sick. Her (presumed) parent clicks off the rock ‘n rant soundtrack and hands the youth some copies of the book version of Pride and Prejudice (one in e-form, the other in hardcopy). From that perspective, we – along with the teen girl – are transposed to the dawn of the 1800s – a period of British history now classified as the era of the English Regency.
The teen girl remains on the parameters of the stage, watching (or reading) and subtly responding as the story unfolds; she’s a sort of audience-within- an-audience device. It’s a meta-theatrical experience, with us in the seats watching the teen watch Pride and Prejudice. And it works. Or, at least it doesn’t interfere with the unfolding of Austen’s period plot. That plot focuses on the manners, mores, and matrimonial rites and requirements of the landed gentry in early 19th century England.
It’s a love story steeped in misunderstanding and misjudgment. Mr. Darcy, a gentleman in title if not in deed, appears “proud and condescending” (his pride). When Miss Elizabeth Bennet first encounters Mr. Darcy, she makes a snap-judgment of him and his haughty demeanor (her prejudice).
Through these characters we, and the teen at the scene, are as if we are peering through a peephole into history. We meet Elizabeth’s parents and her sisters. We become acquainted with Mr. Darcy’s fond friend, the wealthy Mr. Bingley, as well as Clergyman Collins – all are on the look-out for wives.
While it may take patience and persistence to grasp and appreciate this live version of Pride and Prejudice, it does pay off in terms of the craft and artistry involved in this production. Using Austen’s original conceit, Director Donnelly gives us an authentic look at Austen’s literary time-capsule.
Kate Edmunds’ simple scenic design with a rotating device (center stage) – as well as screened projections of green gardens and grand estates (Lap Chi Chu, lighting; Adam Flemming, projection coordination) and Paloma H. Young’s accurately cut and colored costuming – all add up to an extraordinary illusion of reality, an illusion that manifests insights into human nature and the dynamics of gender relations, circa 1800.
As Mr. Darcy, Corey Brill is the ideal embodiment of this self-protective and supercilious countryside sophisticate: tall, properly postured, and with a countenance that’s indicative of having just whiffed a foul odor. Darcy’s revelations of himself and his motives are conveyed by Brill with elegant believability.
Dana Green exudes strength and intelligence as Elizabeth Bennet – no easy feat when characterizing a female figuratively chained to the sexism of the time. Nevertheless, Green infuses Elizabeth with strategy and spirit.
Other support playing standouts are Scott Drummond as the obsequiously manipulative Reverend Collins; Kandis Chappell in a grand dame-de force portrayal of Lady Catherine de Bourgh; and, Randy Oglesby in a pleasingly naturalistic interpretation of the benevolent patriarch, Mr. Bennet.
With a solid cast, 21 actors strong; original music and musical direction by Michael Roth; and, historically accurate choreography by Sylvia C. Turner, this Pride and Prejudice is a proud accomplishment. While it will not take the place of the book, it may cue ever more readers to the details and delights of Jane Austen.
Pride and Prejudice continues at South Coast Repertory – 655 Town Center Drive, Costa Mesa – through October 9. Show times are at 7:30 p.m. Sunday, Tuesday, and Wednesday. Thursday through Saturday performances are at 8 p.m. Matinees are at 2:30 p.m. Saturday and Sunday. For reservations, dial (714) 708 – 5555. For online ticketing and further information, visit www.scr.org.
