Pride and Prejudice is one of my favourite books, so I was very excited to see the stage production by Regent’s Park Theatre. It is very fitting due to Jane Austen’s bicentennial coming up, but resurrecting a 200-year-old tale is no small feat. Yet, they owned it and made it relevant for today’s audience.
I remember reading the book when I was sixteen years old on holiday in the Lake District, which suggests its impression on me as you rarely remember your age and location when you consume a piece of literature. Films usually disappoint me as they don’t do the original narrative much justice. However, this theatre piece provided us with a successful interpretation that captured the essence of the story, and brought it to life with nuances that the theatrical medium allows.
Even though a book adaptation on stage requires someone to explore the imagination on our behalf, the dialogue demands much more than simply lifting the words from the printed text. Simon Reade succeeded in creating a tightly-knit dialogue that did not waste any words. Indeed, one of the most surprising elements was the introduction of humour in the play, as I don’t remember much of this – apart from irony – in the book. The audience became alive and laughed often, which certainly exceeded my expectations as there are moments in the story that are farcical and satirical. I also found that the themes portrayed such as love, pride and vanity are still relevant today due to society’s emphasis on appearance. Prejudice against social classes was also conveyed effectively, as well as the oppression of women and their duty to marry. Women’s role in society was central to both the book and production, including an exploration into people’s views of different strands of society and hierarchy.
Portraying such widely acclaimed iconic characters posed a huge challenge for actors, especially the burgeoning love story between Mr Darcy and Miss Elizabeth Bennett. For me personally, Mr Darcy was not always convincing. Despite his intended coldness and stiffness and the fact that he is not perceived as likeable, I always felt he inherently possessed a certain charm – which did not emanate from the stage. Elizabeth could also have enhanced the headstrong and independent aspect of her personality. The highlight was the infuriating preacher Mr Collins and Darcy’s sister, which accentuated the humour to unexpected heights. Matthew Kelly’s performance as the father was very understated, and the mother was also comical.
The tempo was suitable, providing a relaxed feel without dragging its heels. The pronunciation was very clear and crisp, and the scenes were sharp. The directing by Deborah Bruce made me feel like I was in safe hands and could completely relax.
The lighting varied the focus appropriately, and directed us to where the action stemmed from, thus accentuating the most significant points. The music provided a subtle background for the dancing. Both the set and costumes were classical and traditional, and was therefore in tune with the atmosphere created by the storytelling.
The dancing was understated and provided the opportunity to reflect on the storytelling. However, I would have liked more of a sense of the connections between characters during these scenes, especially the unsaid things that pepper the main events. If I didn’t know the story myself, it was not always easy to understand the dynamics of the relationship between various characters. This could have been achieved by subtle effects such as glances, eye contact and body language. However, the characters moved purposefully across the stage and used the space efficiently, thanks to the movement director Siân Williams.
I thoroughly enjoyed the production at Wales Millennium Centre, and felt it was a professional performance of a timeless classic. Despite the age and setting of the novel, this honest portrayal entertained a modern audience. It even made me want to read the book again, and reminded me of its appeal – which attests to the success of a piece of art.
Until Saturday, February 25
www.wmc.org.uk