Pride and Prejudice is Jane Austen’s novel of manners of 19th century English gentry. It may be the best-known piece of fiction, thanks in no small part to all of the plays, films, mini-series and parodies. It is hard to believe that it was written more than two centuries ago.
Lizzie opens with: “It is a truth universally acknowledged that a single man in possession of a good fortune must be in want of a wife.” Here is the play wrapped up for us.
Let me apologize here to the legions of Jane Austen fans who may be the largest and most rabid group to rival that of any popstar. They would be able to distill the winding story in a way that we amateurs never could.
Set in 19th century Hertfordshire and London, Pride and Prejudice follows the Bennet family and their need to marry off their five daughters: Jane, Elizabeth, Mary, Lydia and Kitty.
The story is told from the perspective of the second eldest daughter, Elizabeth. Jane, the eldest, considered the most beautiful and kind, becomes involved with newly arrived Mr. Bingley who has just purchased property in the area. There follows a parade of eligible men, mostly of large fortunes. Mr. Darcy is the dark and intriguing bachelor. He lacks, or has abandoned, all the social graces. Mr. Collins, clergy, is a second cousin and heir to the Bennet estate. (Primogeniture; I had to look it up.) They need to keep the estate in the family. Mr. Wickham is not only very good-looking but wrapped in mysteries that seem to involve Mr. Darcy. He has a sketchy history. There is also a rather extensive supporting cast of sisters, a patron, an aunt, an uncle, a maid, friends and officers.
Most of the action is focused on making matches: teas, dances, intrigues and scandals. The pendulum of relationships, in and out, off and on, rapid pace by the actors (only three), keeps the play moving. This may be why the plot works better in the leisurely time allotted the mini-series. This production is the exception.
Abigail Pickard Price and Sarah Gobran have created a precisely detailed and intricate script that is perfect for director Abigail Pickard Price and actors April Hughes, Luke Barton and Sarah Gobran and the production staff. (Everybody does a lot of everything.) It is also amazingly faithful to the book.
The actors play no fewer than 15 characters. This theatrical device of multiple characters very often fails, if for no other reason than that scenes too often require more than three characters. Guildford Shakespeare Company has taken the time to bring together all of the production aspects to make this work.
Here we have writers who are experts in the story and actors who can execute a fluid and frenetic pace and a director and movement director (Amy Lawrence) who have tightly choreographed each moment.
Costume and sets by Neil Irish work as hard as everything else. Costume pieces—coats, hats, sashes—move in and out of an armoire on one side of the stage and a clothing rack on the other. Paintings of the homes (settings) are switched out as needed. The actors move set pieces as needed. The creation of a piano is a showstopper. There is at least one scene where actors change characters multiple times as they continue to dance. Without breaking down each movement, it is impossible to relay how excellently and expertly all of this is done. Moment to moment, we know whom each actor is playing even when they change, back and forth, minute to minute.
The writing, directing, movement, actors, lighting, sound, sets, costumes and even the production stage management all work seamlessly together. Wow. This is theatrical magic, a masterclass that delights and amazes for every one of the 120 minutes.
Guildford Shakespeare Company has jumped off the cliff and… hold your breath… they are gliding.