‘Pride and Prejudice’ review
‘a remarkable production to celebrate Valentine’s Day, and to commemorate 250 years of Jane Austen!‘
12 South Theatre and Feather Theatre present their production of Jane Austen’s Pride and Prejudice, in a collaboration between the resident theatrical companies of St. Cuthbert’s Society and Van Mildert College respectively. This production adapts Austen’s seminal 1813 novel, following the development of Elizabeth (Lizzie) Bennett and her slow-burn romance with Fitzwilliam Darcy – whilst she learns the consequences of her own pride, judgement, and prejudice. This show is expertly directed by Nat Pryke, who is assisted by Nell Hickson, and produced by Basmah Shoaib – with musical direction by Daniel Walling.
Isobel Willis (Lizzie Bennet) absolutely shines in every single scene she is in, rendering her a gifted actress who perfectly embodies Lizzie’s obstinateness and determination, as well as the affection she feels for her family. From delivering emotional and moving monologues, to heated arguments, Willis captures Lizzie’s complexity superbly and should be commended for an unforgettable performance. Her scenes with Jack Radcliffe (Mr Darcy) are nothing short of spectacular. Radcliffe is exceptionally believable in conveying the spectrum of emotions elicited by Darcy – from adopting a standoffish and frustrating demeanour at the play’s opening, to gradually becoming the affectionate and caring man we applaud at the end. Both Willis and Radcliffe powerfully draw in the audience’s investment in the love story between Lizzie and Darcy, and it is a joy to watch the tension between the characters gradually soften – with their final declaration of love, and subsequent engagement eliciting immense satisfaction. Their use of space and proximity is skilful and effective – and we truly feel frustrated as the two attempt to draw towards each other, but are interrupted by another character’s appearance onstage!
Whilst typically thought of as a tale of love and romance, one of the true highlights of this production was its portrayal of family. Much praise must be given to the cast of the Bennett family for achieving a believable and heartfelt dynamic. Clara Springman (Mrs Bennett) was truly incredible in depicting a loving mother who cares deeply for her daughters – and owned every inch of the stage through the strength of her presence, and impeccable artistic choices. Playing her husband, Ross Killian (Mr Bennett), exemplifies his skilful range as an actor, conveying Mr Bennett’s exasperation with his wives and daughters, but equally the love he feels for them. Some of the most heartfelt parts of the play come from the moments between the Bennett sisters and their father, and Killian handles these with sincerity. Just as touching is the presentation of sisterly affection – with Bea Pescott-Khan (Jane) being wonderful to watch as an affectionate and caring elder sister to Lizzie. Pescott-Khan exhibits a gentle disposition, giving an emotionally powerful performance as Jane, adding strength to the already solid dynamic between her and Willis.
The supporting cast is equally brilliant. Notably Elias Rosén (Mr Collins), whose arrival elicits continual laughter from the audience every time he walks onstage, is a delight to watch as the bumbling Mr Collins. The scene whereby Collins proposes to Lizzie is particularly hilarious, as Rosén squirms and crawls about the stage floor. On the other end of the spectrum is Alice Toner (Lady Catherine), who embodies the ladyship’s intimidating demeanour and pomposity skilfully through her powerful stage presence. Helena McDonald (Miss Bingley) is equally scathing, with the animosity between her and Willis being palpable, through her cleverly chosen creative choices.
It would be impertinent not to discuss the beautiful set design by Lucy Hobson – who must be applauded for the ingenious idea to have letters suspended from the ceiling throughout the production- illuminating the centrality of letters as the driving force of the narrative, as well as being visually stunning. The set is complimented by Hamish Campbell’s masterful use of pink mood lighting, creating an intimate and romantic feel, particularly in the domestic scenes, or in those between Lizzie and Mr Darcy. Production/ Stage Manager Erin Bullen must also be commended for this. The Regency-feel of the production is gracefully met through the stunning costumes by Kirsty Pollet, with the beautiful empire-silhouette style dresses adorned by the female characters being a true feature of what makes this show feel so authentic. Walling’s use of music in scenes of an emotional nature, such as the strings which play as Lizzie reads a letter from Mr Darcy, or the piano which she plays in Lady Catherine’s house, is ambient and moving – and it would have been lovely to have had more inclusion of music, particularly in the transition scenes which at times feel slightly abrupt and awkward in silence. The music is such a hit when it is used, that it would have been wonderful to have more of it!
All sixteen cast members truly dazzled on stage, and certainly embodied these iconic characters. Pryke, Hickson, Shoaib, and everyone else in the creative and production teams should truly be proud of what they achieved – a remarkable production to celebrate Valentine’s Day, and to commemorate 250 years of Jane Austen!
By Tanuja Hanmantgad.