Theatre review: Pride & Prejudice, Playhouse Theatre, QPAC

Jane Austen’s masterpiece, Pride & Prejudice, is one of the most enduring and popular works of literature in the English language. In recent years several plays, films and a famous BBC miniseries, have all told and retold the classic story of the forthright Elizabeth Bennet and the man she falls for against all the odds, Mr Darcy. 

In honour of the 250th anniversary of Austen’s birth, Queensland Theatre (QT) has produced a brand new adaptation and production with an all-Queensland cast. Staying faithful to the book, while being dressed in Regency era clothes and manners, QT introduces elements that make it very much a contemporary retelling.

The complexity of family politics and relationships, women’s place in society, issues around romance and marriage, plus the humour and comedy we find in the behaviours of others, it’s all in Austen and equally as relevant in today’s world.  

Co-adaptors Wendy Mocke and Lewis Treston have produced a thoughtful, well-researched and truthful rendition of Austen’s novel for the stage. Her book overflows with characters and detailed descriptive passages, capturing the best and worst of human nature. Mocke and Treston have carefully chosen the most judicious elements of the narrative, as well as some of her best lines, with this fluent adaptation that links the separate episodes with well-rounded characterisations.  

Recently appointed Artistic Director of QT, Daniel Evans, together with co-Director, Bridget Boyle, have created a joyous, light-hearted and fun production. Linking the world of small-town life in Regency England, with its bonnets, Empire line dresses and frock coats, they have cleverly added some modern day attributes in both style and language to bring out the foibles of Austen’s colourful characters. Moreover, elements of archaic language are better appreciated with a cast who, speaking in English accents, wear radio microphones.  

Christina Smith has designed a delightful basic set of the main Bennet house with a well-used garden to front and sides of the stage. Using a curtain to open up the front stage reveals a back area where a wall, doors and an overpass are variously used for outdoor and dance scenes. A charming touch is a range of elegant dolls house-sized country houses, used to denote many of the houses in domestic scenes. 

A modern music design by Guy Webster is very effective, particularly when used in semi-formal period, yet distinctly modern, dance sequences at the various balls. This matches Nerida Mattaei’s extravagant and highly amusing choreography, a highlight of the show. Jason Glenwright lights the whole stage with great panache, contributing an effective rainy night sky to end Act 1.  

This is very much an ensemble piece where eight cast members double in a number of roles – for the most part effectively and smoothly executed. Overwhelmingly, the cast is first-rate with terrific performances from the Bennet family – the laconic, laid-back father played by Bryan Probets, the nerve-prone mother played by Gael Ballantyne, plus daughters. 

Perry Mooney’s sweet Jane is balanced by the frenzied performances of Lydia (Courtney Cavallaro) and Kitty (Daphne Chen) and the bizarre bookworm character of Mary (Chenoa Deemal). William Carseldine’s Mr Bingley is charming and good-natured, while Jeremiah Wray makes a fine fist of the villainous Wickham. Amy Ingram is a delightfully pragmatic Charlotte, marrying the oily and repugnant Mr Collins of Cameron Hurry, who does a fine impersonation of Robert Greene’s character in Upstart Crow. 

Only the main characters of Elizabeth Bennet and Fitzwilliam Darcy are not double cast and they are both splendid in their respective roles. Andrew Hearle’s moody, unpleasant opening character, morphing into a decent person once his pride and prejudice towards those of a lower class have been conquered, is spot on. Maddison Burridge’s delightfully bright, curious and principled Elizabeth is beautifully played, capturing Austen’s character with all her flaws and strengths.  

Appealing strongly to a modern day audience, this is a very successful retelling of Austen’s novel, where the humour and wit of her writing advances the characters in an easy to follow narrative. It is helped with a production and set design that flows with momentum from scene to scene.

On opening night this was sometimes overly quick – the enthusiasm of the cast was such that the speaking speeds and chaotic behaviours lost some key elements of the text. There was also a tendency to caricature – a case of less is more would have sufficed to make Austen’s well-realised and mostly gentle points. No doubt this will settle down and find a better rhythm as the season progresses. 

Read: Theatre review: Never Have I Ever, Fairfax Studio

However, with such a talented cast, strong direction and some stunning choreography and music, this is a terrific night at the theatre and should not be missed. 

Pride & Prejudice by Jane Austen, presented by Queensland Theatre
Playhouse Theatre, QPAC

Co-Adaptors: Wendy Mocke and Lewis Treston      
Co-Directors: Bridget Boyle and Daniel Evans    
Designer: Christina Smith
Composer and Sound Designer: Guy Webster
Lighting Designer: Jason Glenwright
Intimacy Coordinator, Choreographer and Movement Director: Nerida Matthaei
Dramaturg: Saffron Benner
Vocal Coach: Gabbrielle Rogers
Stage Manager: Maddison Penglis
Assistant Stage Manager: Tia-Hanee Cleary        
Cast: Gael Ballantyne, Maddison Burridge, William Carseldine, Courtney Cavallaro, Daphne Chen, Chenoa Deemal, Andrew Hearle, Cameron Hurry, Amy Ingram, Perry Mooney, Bryan Probets, Jeremiah Wray, Janaki Gerard (cover), Stephen Hirst (cover)

Pride & Prejudice will be performed until 9 March 2025.