Kate Cook (Elizabeth Bennet), Heather Haney (Jane Bennet), Alice Gibson (Kitty Bennet), Laura Rocklyn (Lydia Bennet), Betsy Rosen (Mary Bennet), in Round House Theatre’s production of ‘Pride and Prejudice’, photo by Kenton Yeager.When I was in high school and was assigned to read Pride & Prejudice, I didn’t even crack a smile after reading its famous opening line. Now, any time I read of the “universally acknowledged” truth, I chuckle inside, offering more proof that education is wasted on youth. Though I haven’t read the book since those teenage years, Jane Austen‘s classic is hard to escape, whether it’s because of Hollywood, Bollywood or some other more highfalutin medium, like PBS.
However, not all adaptations are created equal. Some edit too little, others too much. The highly successful reworking of Pride & Prejudice by Joseph Hanreddy and J.R. Sullivan, currently running at the Round House Theatre, strikes the proper balance. While it approaches the point of excess weight, it does not cross the line. Instead, the play respects Austen’s rich language and characters while keeping the audience engaged and entertained.
For those who have lived under a rock since the novel’s first publication in 1813, the story revolves around the witty and intelligent — yet judgmental — Elizabeth Bennet (played here by Kate Cook), and the dour Mr. Darcy (Michael Brusasco). Elizabeth is the second of five extremely available daughters who stand to inherit nothing, and therefore marrying them off is of utmost importance to the perpetually exasperated Mrs. Bennet, delightfully played by Catherine Flye. Accompanying his best friend, Charles Bingley (Clinton Brandhagen), and Bingley’s sister, Caroline, Darcy arrives in Elizabeth’s country town. Mr. Bingley takes an immediate liking to Elizabeth’s older sister, Jane (Heather Haney). At the same time, Elizabeth and Darcy rub each other the wrong way. Through various misunderstandings, Bingley and Jane are separated, just at the moment Elizabeth and Darcy begin to sense their feelings for one another. More complications come in the form of Mr. Collins, a suitor who will inherit the Bennet estate, and a potential scandal involving Elizabeth’s younger sister, Lydia (Laura Rocklyn).
Saying that they all get back together is no spoiler, because the warmth of this piece does not stem from the fact that everyone ends up living happily ever after, but rather how the growth of each character allows them to reach that point. Credit goes to director Blake Robison’s light touch and wisdom to not mess with a story that has stood the test of time. Likewise, Narelle Sissons’ stage design is equally unobtrusive. The main set piece consists of a large rotating doll house, whose sides open up to reveal different rooms of the various estates where the action takes place. Though simple in concept, one could imagine the difficulty behind building it.
If there was one minor weakness in the performance, it was that at points the highbrow British accent the actors used seemed to get in the way of their delivery. This hardly affected the entire 19-member company, as there were several standout performances. Cook makes an effective transformation, going from cool detachment to a young woman in love. Susan Lynsky’s Caroline is just the type of snobby princess that one imagines for the part. Rick Foucheux, who plays Mr. Bennet, delivered his precious one-liners as the quintessential straight-man, the calm in the eye of the storm. James Konicek also drew laughs with his portrayal of Mr. Collins, a man of humble station who longs to be among the play’s elite. However, in the end, it is the story and the text that are the stars of Pride & Prejudice, and the ensemble’s biggest success is that they were content to simply hit their marks and say the words.
Pride & Prejudice runs at the Round House Theatre through December 31, 2011. Visit the Round House web site for full ticket and schedule information. $10-$60.
