Written in 1796 and published in 1813 when Jane Austen was only in her early 20s, Pride and Prejudice is the author’s most loved creation and one that has never been out of print. This novel of manners has captivated readers over the ages with its witty and acerbic survey of social mores, as well as its intersecting explorations of class, gender and money in a patriarchal world where a woman’s financial security and quality of life were entirely dependent on marrying well.
The book is also arguably the greatest romcom penned, with the sparring between Elizabeth Bennet and Fitzwilliam Darcy sparking and inspiring endless adaptations and sequels across all media forms (Bridget Jones’ Diary is probably the best-known modern homage, but Pride and Prejudice and Zombies is one of the more outlandish literary spin-offs).
Following a season at the Sydney Opera House, the producers of this iteration, however, have kept it safe and respectful to honour the times and aesthetic of Austen – no brain-eating monsters here. Instead, it’s set in a demure drawing-room, a location that’s the epicentre of many an Austen drama. In this Regency cottage-core environs comes Nadine Garner, who last impressed audiences in Melbourne with her role in The Almighty Sometimes.
But before Garner makes her entrance, the audience is welcomed by pianist Daniel Le and violinist Madeleine Easton, with the latter giving us a quick biographical lesson of the life and times of the writer. Together the musicians play various classical scores that were written in Austen’s day by Schubert, Beethoven and Mendelssohn, after leading with the famous opening beats composed by Carl Davis that all Janenites will recognise from the 1995 BBC TV series starring Colin Firth and Jennifer Ehle.
So, the scene and context are set for Garner, who strolls in wearing an androgynous long, velvety grey frock coat, waistcoat and riding boots and, from a large leatherbound volume, declaims the oft-quoted opening: “It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife.”
The recitation of that witty, dry turn of phrase alone from Garner assures us we will be in for a good night. She is giving a public reading – a common form of diversion in Austen’s era, when gentlefolk gathered around a fire for post-dinner entertainment.
Garner is a particularly expressive actress and for the next hour she races through a heavily abridged version of Pride and Prejudice, modulating her voice and posture as she takes on the main players (watch out particularly for Mr Collins and Lady Catherine de Bourgh as Garner transforms from crouched and snivelling to imperious and proud). The recitation is a blend of original text and modern anachronisms.
Le and Easton meanwhile, accompany her as Garner makes the most of the space in the small and intimate Fairfax stage, which is tastefully decked out with oil paintings of still lifes, landscapes and portraits. She moves between a small desk, a chaise longue and a lectern. if she overacts a little and tips into caricature at times, we forgive her enthusiasm; her elocution is sharp, her physicality on point as she leans into the wry humour of the text. She does not so much read from the book as emote from it; this is a dramatic performance after all.
Read: Theatre review: The Puzzle, Dunstan Playhouse
These three creatives paying homage to Austen provide a charming 90-minute entertainment that any, and all, fans of the author will appreciate. Obviously its short duration eschews an in-depth exploration of the book, but seeing this lively adaptation may just inspire you to go back for a reread.
Pride and Prejudice: An Adaptation in Words and Music
Presented by Spiritworks & Theatre Tours International
Direction: Tyran Parke.
Book Adaptation: Gill Hornby
Pride and Prejudice will be performed until 6 October 2024.
