“Now playing at the CAA Theatre, 651 Yonge Street, Toronto”A hilarious and wacky send up yet again. What some might consider a dry Jane Austen classic manages to make audiences roar with laughter a year later in its Toronto return.”
This ‘Pride & Prejudice’ may motivate audiences to engage with the original Jane Austen novel, much as ‘Natasha, Pierre and the Great Comet of 1812’ (a few blocks west of the Yonge Street Theatre) can for Tolstoy’s ‘War and Peace.’
That’s a good thing.
Under the guidance of their mother, the five Bennett sisters (Jane, Elizabeth, Mary, Catherine, and Lydia) confront the prevailing expectation that they secure advantageous marriages. Given the socio-economic context of the era, marrying well is crucial for maintaining financial security. Failure could lead to destitution and the potential loss of their home. The narrative closely follows the evolving circumstances of the sisters, with a primary focus on the dynamic between Elizabeth Bennett and Fitzwilliam Darcy.
The phrase “(sort of)” in the title reflects the play’s distinctive narrative approach. The servants of the Bennett household become the storytellers rather than focusing on the principal characters. Through the wit and assertiveness of these servants, coupled with a modern sense of empowerment, Playwright and Director Isobel McArthur’s playful homage to an adaptation doesn’t take itself seriously at all. It revitalizes a classic that some might regard as dry, effectively engaging contemporary audiences with a nudge-and-wink humour.
What also makes the production memorable is the use of a portable karaoke box for the musical numbers. (Boy, am I old? I remember singing off-key karaoke many years ago.) These gals are not opera singers, nor should they be. They can and burst out in tunes from the sixties, seventies and eighties with joyful glee and abandon. Choreographer Emily Jane Boyle’s staging of ‘doe wop’ moments beautifully adds to the hilarity of the moment.
The visual design of the opening night production effectively evokes a historical atmosphere. Ana Inés Jabares-Pita’s set thoughtfully represents an elegant, though modest, manor drawing room. The rear scrim establishes a clear autumnal setting, while the nearly wrap-around semi-circular staircase imparts a notable sense of grandeur. A presumed spinet piano anchors the main floor alongside period-appropriate props and furnishings. Jabares-Pita also demonstrates attention to costume design and coordination, with the understated white dresses worn at the start suggesting a class distinction between the ladies and other members of the household. The performers assume multiple roles, often transitioning via quick on-stage costume changes or brief exits.
Colin Grenfell’s lighting design successfully replicates the effect of natural light streaming through windows. Sound designers Michael John McCarthy and Niamh Gaffney (for Autograph) contribute further to the immersive environment. I could hear all the dialogue, as well as the lyrics in the songs. That’s a bonus.
The creative team, led by Musical Supervisor Michael John McCarthy, McArthur, and Boyle, successfully realizes the vision that the Director describes in her Programme Note as “a hugely enjoyable, but not necessarily easy, read.” Their work adeptly captures the nuanced ‘sassy cheekiness’ pivotal to the adaptation’s effectiveness. The apt casting of five accomplished performers—Emma Rose Creaner, Eleanor Kane, Rhianna McGreevy, Naomi Preston Law, and Christine Steel—results in confident, cohesive, and dynamic performances. Before the performance, these ladies engage with audience members in the theatre’s aisles, fostering an inviting and jovial atmosphere. Throughout the two-hour production (including one interval), this tight-knit ensemble maintains a brisk pace, expertly managing set and prop transitions with notable proficiency. The significant movement up and down the stage’s staircase is executed seamlessly, with the performers demonstrating consistent energy and stamina, especially on the two show days.
I’m hesitant to point out any of the songs, as that would detract from the enjoyment and surprises of the evening.
At one point, one of the performers asks: “What makes a woman accomplished?”
I find this question a valid one. As a man, I can answer it through the obvious – women can bear and nurse children. Women make homes, meals and holidays. From a male perspective, that’s what I believe makes a woman accomplished.
Another reason for what makes women accomplished? They can create a hell of a good theatre experience. This ‘Pride & Prejudice’ (sort of) cast performs with grace, style and wit. McArthur comments on her Programme Note: “It’s patently obvious that we need to create more opportunities for female performers to play a wide variety of nuanced, interesting and varied roles in the theatre.”
Seeing this cast is a first step.
Running time: approximately two hours and 30 minutes with one interval/intermission.
The production runs until August 17 at the CAA Theatre, 651 Yonge Street, Toronto. For tickets: mirvish.com or call 1-800-461-3333.
DAVID AND HANNAH MIRVISH present
The David Pugh & Cunard production of
‘Pride & Prejudice’ (sort of) by Isobel McArthur after Jane Austen
Directed by Isobel McArthur
Sets and Costume Design: Ana Inés Jabares-Pita
Lighting Design: Colin Grenfell
Sound Designer: Michael John McCarthy and Niamh Gaffney for Autograph
Musical Supervisor: Michael John McCarthy
Performers: Emma Rose Creaner, Eleanor Kane, Rhianna McGreevy, Naomi Preston Low, Christine Steel
