Pride and Prejudice
by Jane Austen
Adapted by Christopher Baker
Directed by Hana S. Sharif
Repertory Theatre of St. Louis
December 6, 2019
Nick Rehberger, Katie Kleiger
Photo by Phillip Hamer
Repertory Theatre of St. Louis
The Rep’s brand new Artistic Director Hana S. Sharif makes her directorial debut with the company with an adaptation of the much-dramatized Jane Austen classic, Pride and Prejudice, and it’s a fun production. Although, as is usual with stage adaptations of literature, there are some liberties taken with the story, this version is extremely fast-paced and comedic, and the leads give compelling and relatable performances. It’s witty and engaging, with sumptuous production values and inventive staging.
The story here is essentially what anyone who knows the book will remember, with a few alterations. For instance, instead of five Bennet sisters as in the novel, there are four, and their age order has been changed around a bit. Jane (Rebecca Haden), Elizabeth (Katie Kleiger), and Lydia (Sydney Leiser) are presented essentially as they are in the book, but Mary (Maison Kelly)–who is the youngest sister here–is something of an amalgamation of book-Mary, her younger sister Kitty (excised from this adaptation), and youngest Dashwood sister Margaret as interpreted in the two most recent filmed versions of another Austen novel, Sense and Sensibility. Also, some characters, such as Georgiana Darcy and Anne DeBourgh, are relegated to off-stage status, mentioned but not seen. This all makes sense in terms of the direction the adapter seems to have taken with the material, which is to focus on the most important characters and relationships, and to play up the comedy while managing to keep most of the characters on a more human scale and out of the realm of caricature. The central relationship, as always, is between the witty second daughter Elizabeth and the seemingly haughty, socially awkward Mr. Darcy (Nick Rehberger), with due time also given to Jane’s courtship with new neighbor and Darcy’s friend Mr. Bingley (Grayson DeJesus), and the initially charming but rakish ways of Darcy’s old acquaintance Mr Wickham (Stephen Michael Spencer), who tries to cast his spell on both Elizabeth and Lydia, with varying degrees of success. What I especially like here is the emphasis on the Bennet parents (Michael James Reed as Mr. Bennet, Michelle Hand as Mrs. Bennet), and their portrayal as genuine flawed human beings rather than caricatures. Mrs. Bennet in particular has often come across as cartoonish in adaptations, and thankfully she doesn’t come across that way here. While she certainly can be single-minded and meddling, the playwright and the production give her a clearly communicated reason for her actions, which I find especially refreshing. Although the second act especially seems to move too fast at times in an effort to get all the important plot points covered, for the most part this is lively, quick-witted and spirited production that preserves the general essence of the novel while also making the story work as a theatrical presentation.
The cast here is, for the most part, excellent and ideally chosen. Kleiger and Rehberger lead the way with their strong personalities and palpable chemistry in a particularly effective pairing as Elizabeth and Darcy, who grow and change believably throughout the production. The sisters are also excellent, with fine performances from Haden as the shy and sweet-spirited Jane, Leiser as the more reckless Lydia, and especially Kelly in a fun performance in this show’s unique interpretation of Mary. There are also convincing performances from DeJesus as the kind, charming Mr. Bingley, Rebeca Miller as Elizabeth’s friend Charlotte Lucas, Blake Segal as the fastidious and over-eager Mr. Collins, and Jennie Greenberry as Bingley’s haughty sister Caroline. Particularly notable, though, are Reed and especially Hand as the Bennets, who bring a real sense of humanity along with humor to their characterizations and their relationship. Hand was also particularly impressive on opening night, dealing with a set furniture malfunction in a thoroughly in-character and appropriately hilarious manner. There are fine performances all around, with the one weaker link being Lizan Mitchell as Lady Catherine DeBourgh, whose wildly over-the-top performance seems like it belongs in a different play than everyone else. Still, that’s a small role and not enough to detract from the overall enjoyment of this delightful production.
In terms of set, designer Scott Bradley has given us something that’s appropriately dazzling, with grand windows and staircases and an excellent use of shadowy rooms behind the main playing area, where the audience is allowed to view the various characters observing one another at various moments. There’s also dazzling lighting by Xavier Pierce and colorful, meticulously detailed period costumes by Dorothy Marshall Englis. The music and sound by Nathan A. Roberts and Charles Coes contributes an effective brightly atmospheric tone to the production, and the projections by Alex Basco Koch contribute well to the transitions between scenes, although they do occasionally suggest an “English travelogue” vibe.
I love Pride and Prejudice, and I’ve seen many adaptations (film, television, and stage) over the years in addition to having read the book a few times. To my mind, this latest version from the Rep strikes a lively tone and pace, bringing out qualities of the characters that have sometimes been ignored in other productions. Austen purists might object to some of the liberties taken, but I think that they are mostly well within the spirit of the piece. It’s a fun, witty, extremely fast-moving show that showcases a classic literary pairing with appropriate emphasis, but also provides a tone and atmosphere that adequately reflects its English Regency setting and Austen’s well-established characters. The adapter, Christopher Baker, even managed to work Christmas into the story in a believable way that makes this work as a holiday show. It’s a treat of a production.
Cast of Pride and Prejudice
Photo by Phillip Hamer
Repertory Theatre of St. Louis
The Repertory Theatre of St. Louis is presenting Pride and Prejudice until December 29, 2019
