Posts Tagged ‘pride and prejudice’

SATE and PPA Alumni Revisit “First Impressions” With Cleverly Staged Reading

Posted in St Louis Theatre, tagged , , , , , , , , on February 21, 2026| Leave a Comment »

First Impressions
An Adaptation of Pride and Prejudice by Jane Austen
Adapted by Ellie Schwetye
Directed by Ellie Schwetye & Rachel Tibbetts
PPA Alumni Theatre Company and SATE Ensemble Theatre
February 12, 2026

SATE and PPA Alumni Theatre Company recently offered audiences another impression of the award-winning Jane Austen-inspired work First Impressions at The Chapel, where SATE first debuted the show in 2017. Prison Performing Arts also staged a version at WERDCC in 2019, and video from both productions has been incorporated in the pre-show video for this latest version, billed as a “Fully Staged Reading Experience”. Although it was a reading, the staging was quite clever, and the use of actors live and on video contributed much in the way of humor and entertainment value. 

The premise is the same as before–an adaptation of Austen’s most famous novel Pride and Prejudice, interspersed with reflections from the cast about their experience with the novel and its various film adaptations. It’s been revised a fair amount since I saw the production in 2017, with more personal reflections and some more references to the 2005 filmed version of the novel. I was intrigued to note that several of the performers in this iteration stated that they hadn’t read the novel before working on this show, and so this production is their true “first impression”, although several others seemed to be longtime fans of Austen and the book, and issues discussed included favorite characters, comparisons of Mr. Darcy film actors, and the plot’s relevance for today. It’s a clever idea to adjust the reflections depending on the cast, which could work for future productions, as well.

The staging is crisp and lively, with fun use of the music stands used to hold the scripts the actors are reading from. The set by Bess Moynihan, who also designed the lighting, was whimsical and fun, featuring a video “portrait” in the middle of the performance area, featuring several cast members who recorded their performances in advance, including Patty Prewett as the imperious Lady Catherine DeBourgh, Hazel McIntire as scheming Caroline Bingley, Julie Antonic as Pemberley housekeeper Mrs. Reynold’s, and an especially fun turn by LaWanda Jackson and Janiece Moore giving running commentary and billed as “Statler & Waldorf”. Autumn Hales in a dual role as fourth Bennet sister Kitty and as Mr. Darcy’s younger sister, Georgiana The live cast was enthusiastic and memorable, as well, led by the excellent turns as Elizabeth Bennet and Mr. Darcy by real-life couple Alicen Kramer-Moser and Anthony Kramer-Moser. These two worked together well, exhibiting excellent stage presence and chemistry. There were also strong impressions made by Margeau Steinau and Eric Satterfield as Mr. and Mrs. Bennet, Hailey Medrano as the sweet eldest sister Jane Bennet, Miranda Jagels-Félix in a fun turn as middle Bennet daughter Mary, and Kristen Strom as the flighty, flirty Lydia. David Nonemaker as the somewhat silly Mr. Collins, Andre Eslamian in a dual role as the kind Mr. Bingley and rakish Mr. Wickham, and Victoria Thomas as Elizabeth’s practical-minded friend Charlotte Lucas also contributed much to the wit, humor, and fun of the production.

The rest of the technical elements were also strong, with notable distinction going to Brian Dooley and David Nonemaker for their excellent videography, and Dooley and Eric Satterfield for their video editing and projection design. The costumes by Tyler White and Kayla Lindsay featured a clever blend of Regency-era influence and modern style, and Ellie Schwetye’s sound design was also strong.

This show was, and continues to be, a fitting tribute to Austen’s classic novel and its fans over the generations. It’s a lively, versatile adaptation that works well in various formats, and I can easily imagine more iterations of it in various venues in the future. The only notable drawback to this production was that it only ran for one weekend, so more people didn’t get the chance to enjoy it. 

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“Austen’s Pride” is An Entertaining, Promising Look at a Famous Author and Story

Posted in St Louis Theatre, tagged , , , , , , , , , on August 5, 2025| Leave a Comment »

Austen’s Pride: A New Musical of Pride and Prejudice
Book, Music, and Lyrics by Lindsay Warren Baker and Amanda Jacobs
Directed by Igor Goldin
Choreographed by Lisa Shriver
STAGES St. Louis
July 30, 2025

Dan Hoy, Olivia Hernandez, Delphi Borich
Photo by Phillip Hamer
STAGES St. Louis

The latest offering from STAGES St. Louis is a pre-Broadway showcase performance, the second they’ve done after The Karate Kid three years ago, and at least for me, this effort is even more promising than the last one. I’m admittedly a big Jane Austen fan, having read her novels and seen many of the film, television, and stage adaptations. This latest new musical, though, is more than just an adaptation. Austen’s Pride: A New Musical of Pride and Prejudice, is about Austen herself as much as it is about her most well-known novel. And while there are some aspects that could use a little bit of work, for the most part it’s an intriguing, entertaining showcase for a great cast and excellent melodic score. 

With book, music, and lyrics by Lindsay Warren Baker and Amanda Jacobs, Austen’s Pride starts out on a mostly dark stage, with Jane Austen (Olivia Hernandez) trying to figure out what to write next after the success of her novel Sense and Sensibility. Her devoted sister Cassandra (Dianica Phelan) suggests Jane revisit an old draft of hers, a novel called First Impressions, but Austen isn’t sure she wants to write another love story. Then she starts reading through the story and the characters appear, with Austen making changes as it goes along and reflecting on incidents from her own life which influence the story in various ways. She also interacts directly with the characters at times, especially heroine Elizabeth Bennet (Delphi Borich), as Elizabeth’s story becomes influenced by Austen’s own experiences, and Austen herself becomes affected by the story that seems to have a life of its own.

The Pride and Prejudice story is familiar to many, and all the well-known characters are here, from the lead character Elizabeth to her suitor Mr. Darcy (Dan Hoy), and her whole family, including parents Mr. Bennet (Kevyn Morrow) and Mrs. Bennet (Sally Wilfert), and sisters Jane (Addie Morales), Mary (Sarah Ellis), Kitty (Cali Noack), and Lydia (Kate Fahey). We also meet the various suitors, including the kindly, effusive Mr. Bingley (Cole Thompson), the oafish Mr. Collins (Paul Castree), and the charming but rakish Mr. Wickham (Michael Burrell). Several of the cast members also play other characters as needed, with notable examples being that Wickham’s actor also plays Austen’s former suitor Tom Lefroy, and Mrs. Bennet’s performer also plays the imperious Lady Catherine DeBourgh.

Of course there’s a lot of condensing here, and the blending of Austen’s personal life with the story is easier to follow if you know more about the author’s history. Also, some of the character cuts affect the tone of the story in ways I’m not sure work as well as they should–especially in terms of Lady Catherine, who comes across as even more unreasonable than in the book, since all reference to her daughter Anne has been removed (without even one mention), which makes Lady Catherine’s objections to Darcy’s interest in Elizabeth even more ridiculous than they are in the novel. Also, some characters seem like the writers didn’t always know what to do with them, like Cassandra, who has some excellent moments but also disappears for long stretches to the point where it’s easy to forget she was there in the first place. There’s also little suspense in whether the story will actually be finished, because we know that it was in “real life”, and some of the efforts to add conflict come across as clumsy (especially at the end of Act 1). 

Still, those are issues that can be worked on, and for the most part, Austen’s Pride is an intriguing, thoroughly entertaining show, with a broadly witty sense of humor and a believable connection between Austen and her story, as well as an excellent treatment of the growing relationship between Elizabeth and Darcy. The casting is first-rate, as well, with Hernandez showing excellent presence as Austen, with a bit of a Mary Poppins vibe and marvelous vocals. Borich is also fantastic as Elizabeth, working especially well with Hernandez’s Austen and Hoy’s note-and-book perfect Mr. Darcy. The rest of the cast is also strong, with Phelan making the most of the underwritten role of Cassandra, Morrow and Wilfert memorable as Mr. and Mrs. Bennet, and all the Bennet sisters being especially well-cast. Special note goes to Ellis, who makes the most of three roles–the stuffy, socially awkward Mary Bennet, the priggish Caroline Bingley, and Elizabeth’s kindly aunt Mrs. Gardiner. Cole Thompson as Mr. Bingley, Castree as both Mr. Collins and Mr. Gardiner, and Burrell as Wickham and Tom Lefroy all give strong turns as well. It’s a strong ensemble all around, with a good deal of energy and enthusiasm in the production numbers and dances choreographed by Lisa Shriver with a fun blend of Regency styles and modern Broadway flair. 

The set and technical aspects of the show are deceptively simple, with little in the way of actual set pieces and a lot being done with lighting and projections. Josh Zangen’s set is notable for its economy, with a few furniture pieces that move on and off as needed, and excellent projected backdrops. Jason Lyons’s lighting adds much to the atmosphere and whimsical quality of much of the story, and Phillip Peglow’s sound is crisp and clear. There’s also excellent work from Emily Rebholz on the marvelously detailed costumes, and by Tommy Kurzman on wig and hair design. The orchestra, led by music director Sheela Ramesh, is in fine form, as well, lending a lush sound to the sweeping new score by Baker and Jacobs. 

Ultimately, there’s much to love about Austen’s Pride, even if aspects of it could stand some revision. Especially for Jane Austen fans, this is a fun, fascinating story. It also works as a great showcase for it’s talented cast, and especially its leads, Hernandez and Borach. It’s a promising show given a memorable staging at STAGES St. Louis.

Cast of Austen’s Pride
Photo by Phillip Hamer
STAGES St. Louis

STAGES St. Louis is presenting Austen’s Pride at the Kirkwood Performing Arts Center until August 24, 2025

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A Fast-Moving, Highly Entertaining “Pride and Prejudice” at the Rep

Posted in St Louis Theatre, tagged , , , , , , on December 12, 2019| Leave a Comment »

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

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“First Impressions” Makes a Strong Impression at SATE

Posted in St Louis Theatre, tagged , , , , , , , , on May 20, 2017| Leave a Comment »

First Impressions
Adapted from Jane Austen’s Pride and Prejudice
Conceived by Rachel Tibbetts and Ellie Schwetye
Directed by Rachel Tibbetts
SATE Ensemble Theatre
May 17, 2017

John Wolbers, Ellie Schwetye
Photo by Joey Rumpell
SATE Ensemble Theatre

 I’m a Jane Austen fan. I’ve read her books, seen various filmed adaptations, and like a lot of Austen fans, Pride and Prejudice is my favorite of her novels. Also like a lot of Austen fans, I have a lot of strong opinions about the story and its adaptations. Austen seems to inspire a lot of strong emotions about her works, and that trait is represented well in SATE Ensemble Theatre’s latest production, First Impressions, which tells the story of Pride and Prejudice in a dynamic way while also telling the stories of many of its readers.

The basic story of Pride and Prejudice is well-known by many, whether they’ve read the book or seen many of the various filmed and staged adaptations. Here, with First Impressions, adapters Rachel Tibbetts and Ellie Schwetye have given the story the SATE treatment, presenting the story in a somewhat straightforward way in one sense, but opening it up in another sense, in terms of framing, staging, and casting. Here, various testimonials of of people’s “first impressions” of the story are interspersed with the story. All the familiar characters are here, as Elizabeth Bennet (Schwetye) meets Mr. Darcy (John Wolbers) and the romantic and family drama and comedy unfolds. Elizabeth and her sisters Jane (Cara Barresi), Mary (Parvuna Sulamain), Kitty (Jazmine K. Wade), and Lydia (Katy Keating) live with their parents, the marriage-obsessed Mrs. Bennet (Nicole Angeli) and the somewhat world-weary Mr. Bennet (Carl Overly, Jr.). When the handsome, eligible Mr. Bingley (Michael Cassidy Flynn) moves into a nearby estate, the story is in motion, following Elizabeth as she learns more about the mysterious Mr. Darcy and about the world around her, populated by characters like the sycophantic Mr. Collins (Andrew Kuhlmann), the dashing but caddish Mr. Wickham (also Flynn), and the imperious Lady Catherine DeBourgh (also Angeli).  The story is narrated by Mary, and as the action unfolds, it’s often interspersed with the “first impression” stories that provide commentary not just on the story itself, but on its place in history, its appeal to people from all ages and cultural backgrounds, and also occasional critique of Austen’s perspective and her era.

It’s a fast-paced, fascinating, riveting presentation, full of motion and emotion, with characterizations that are at once true to the spirit of the book and strikingly modern. The fact that some performers play more than one role also provides interest in the form of contrast, such as Angeli’s portrayal of the meddling Mrs. Bennet, the imposing Lady Catherine DeBourgh, and the personable Aunt Gardiner. Angeli is particularly notable for portraying a Mrs. Bennet who doesn’t come across as a caricature or a cartoon as she can in some filmed adaptations. Yes, she can be silly, but Angeli provides some substance behind the silliness, and there’s a degree of affection between Angeli and Overly’s Mr. Bennet that adds a level of depth to their relationship. Sulamain’s portrayal of Mary is similarly refreshing, making the middle Bennet sister appear more thoughtful than sanctimonious. The other Bennet sisters are also strong in their characterization, from Barresi’s reserved but gentle Jane, to Wade’s excitable Kitty, to Keating’s brash, outspoken Lydia.  Flynn is excellent as both the generous, lovestruck Bingley and the charismatic but unprincipled Wickham. Kristen Strom gives another strong contrasting performance as two distinctly different sisters–the haughty Caroline Bingley, and the more humble, kindly Georgiana Darcy. Rachel Hanks is memorable as a particularly enthusiastic incarnation of Mr. Darcy’s housekeeper, Mrs. Reynolds, and also as Elizabeth’s practically-minded best friend, Charlotte Lucas, who ends up marrying the Bennets’ silly cousin, Mr. Collins, who is portrayed with a gleeful, almost morbid intensity by Andrew Kuhlman. And last but not least are Schwetye in an engaging, determined portrayal of Elizabeth and Wolbers as Mr. Darcy, giving him a more reserved and occasionally witty portrayal. The chemistry between Schwetye and Wolbers is strong, as is the chemistry among the sisters, and the staging lends to the characterization, and the sisters are often seen gathering to eavesdrop on their sisters’ conversations.

It’s a fresh, timely staging that brings out a lot of the story’s humor as well as examining its seemingly universal appeal. The set and lighting by Bess Moynihan contribute a great deal to the tone of the show. The big white tent and and minimal furnishings add to the always-in-motion quality of the play, and Elizabeth Henning’s costumes are especially impressive, featuring a blend of period details and modern flair, from Wickham’s leather jacket and pants to the colorful dresses of the Bennet sisters, and more, this is a production that celebrates the classic elements and the timeless quality of this show. There’s excellent sound design by Schwetye as well, and the use of music–mostly modern pop music rearranged as chamber music–works extremely well, especially in the wonderful Netherfield Ball sequence.

This is a fun show as well as a thought-provoking one. References to Colin Firth and Laurence Olivier are thrown in along with comments on women’s roles, the affluence of the characters, and more. A frequent theme that comes up in the testimonials is how the story can mean different things to the same person depending on when they read it.  Pride and Prejudice is a story that means a lot to many people, and although opinions can greatly vary, it’s a story that’s clearly made an impact over the generations. SATE Ensemble Theatre has presented this story well, as well as examining it, somewhat deconstructing it, challenging it, and celebrating it. Like so many of the shows SATE does, this show takes a unique approach, and it provides for a singular theatrical experience.

John Wolbers, Katy Keating, Nicole Angeli, Andrew Kuhlman, Jazmine K. Wade, Parvuna Sulaiman, Carl Overly, Jr.
Photo by Joey Rumpell
SATE Ensemble Theatre

SATE Ensemble Theatre is presenting First Impressions at the Chapel until May 27, 2017

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