Review: 'Stylish, Sophisticated and Uproariously Fun' PRIDE AND PREJUDICE At Lipscomb University Theatre

Quite possibly the best-known and most-loved book in Jane Austen's repertoire, Pride and Prejudice was considered only moderately successful during her lifetime. Published in 1813, after Sense and Sensibility and followed by Mansfield Park, Emma, Northanger Abbey and Persuasion (the latter two published posthumously) and the unfinished Sanditon (which has been adapted in the 21st century as a Masterpiece Theatre offering on PBS), over the years Pride and Prejudice has proven ever more popular, inspiring all manner of adaptations for stage, screen, literature and YouTube videos (chances are, we'll see it serialized on TikTok at any moment).

But perhaps for contemporary audiences - we forgot to mention, there have even been musical comedy interpretations of Austen's book of manners, marriage, wealth and class distinction, women's rights and the folly of courtship - there is no more agreeable version of Pride and Prejudice than that of actor/playwright Kate Hamill's rather uproarious and broadly comic stage adaptation now onstage at Lipscomb University's Shamblin Theatre through April 16.

Confidently directed by Beki Baker, in a stylish and rather sophisticated production led by two of Lipscomb Theatre's finest - Victoria Griffin as Lizzy Bennet and Bryce Dunn as Mr. Darcy - Pride and Prejudice is clearly one of the most entertaining and quite joyful productions we've seen since the pandemic has loosened its grip on theater and allowed a return to near-normalcy stagewise. With gorgeous settings upon which to play (scenic designer Andy Bleiler's Regency Era sets are indeed a sight to behold, lit to perfection by designer Anne Willingham's lighting plot, and scene changes are beautifully choreographed to ensure smooth, even delightful, transitions that defy convention), Baker's accomplished ensemble of student actors (dressed in June Kingsbury's elegant empire-waisted gowns, "puffy shirts" and waistcoats) bring the story to life with panache, aplomb and all sorts of other high-toned adjectives (even the more mundane "fun" works marvelously to describe that which is found onstage) that might easily be ascribed to this production.

This news comes as absolutely no surprise for local theater audiences who have come to expect excellence from Baker and her cohort of theater artists at Lipscomb who have worked together to elevate the theater program on campus, drawing ever more talented students dedicated to their craft - and, as devotees of the program have learned during Baker's tenure, the works of Jane Austen are definitely in the wheelhouse of her estimable skill set.

With Pride and Prejudice she certainly does not disappoint, starting with the casting of Griffin and Dunn and the members of the supporting cast, including the lovely and expressive Audrey Venable as the sweetly sincere Jane Bennet; the charming Alex Dee as the rakish Mr. Bingley; Lorenzo Rivera as the seemingly stoic yet engaged Mr. Bennet; Marian Claire Barber as sad-sack Mary Bennet (who takes on some of the attributes of the book's sister Kitty, who is edited out of Hamill's version); Aleia Eagleton as the foolish and frivolous Lydia Bennet; Jillian Rice as the loyal yet sensible Charlotte Lucas; Caylin Maguire as the snobbish Miss Bingley; David Long III as the duplicitous Lt. Wickham; the pitch-perfect comic actor Jonathan Thompson as Rector Mr. Collins; the stunning Abi Williams (whose regal carriage makes her seem ageless) as the officious Lady Catherine DeBourgh; and Hannah Noelle as her phlegmatic daughter Anne; with Cleo Graham and Connor Adair as deliciously above-their-station servants; and the positively scene-stealing Makinley Smith as the conniving, manipulative and uproariously funny Mrs. Bennet (her exclamation of "Balls, balls, balls..." just about brings the house down in a purely wholesome way).

Clearly, the actors are having as much of the aforementioned "fun" as the script allows (and almost as much as the opening night audience, who were actively engaged in doing their part - reacting with abandon and ardor - to ensure a successful night at the theater), guaranteeing that every moment is fast-paced, spirited and wonderfully rollicking. Hamill's delightful script is loyal to the book upon which it is based (although, as mentioned, some characters are excised to guarantee the plot is not bogged down by too much exposition or too many characters to crowd the space afforded by the Shamblin Theatre stage), but is made to feel all the more contemporary with clever writing that allows us a clear portrait of each character and provides a gracious plenty of laugh-out-loud moments that lead us inextricably to the romantic payoff we have all come to expect from Pride and Prejudice.

Victoria Griffin is completely believable, consummately forthright and utterly beautiful as our romantic heroine Lizzy, direct about her plans to never marry and with her common-sense approach to the overbearing matchmaking machinations of her mother. Yet no matter how outspoken she may be, or how certain she assures us she is, it remains obvious from the very first moment Bryce Dunn enters the scene as Fitzwilliam Darcy that she will be head-over-heels within the span of two-and-one-half hours.

Dunn's noteworthy stage presence ensures that every eye in the audience is focused on him in every scene, in which he is resolutely engaged and actively a part of the stage dynamics with Griffin no matter the proximity of their physical forms or whatever else is happening onstage. Dunn is strikingly handsome, but never once does he rely on that to command attention. Instead, he delivers an indelible portrait of Darcy that is altogether intriguing and compelling.

The onstage pairing of Griffin and Dunn - loyal to Austen's original work - is underscored by two actors' shared chemistry which makes the play's foregone conclusion just as potent as one could possibly hope for: the two staunchly independent characters admit their affections for each other, providing us with the happy ending for which we have all been waiting since Kari Smith's choreographed opening dance sequence.

Hamill's adaptation of Pride and Prejudice is sometimes bold and brash, even outlandish in its humor, yet it is always faithful to its source material and helps to condense Austen's comedy of manners to something even more accessible for modern audiences. It shouldn't be missed!

Pride and Prejudice. Based on the novel by Jane Austen. Adapted by Kate Hamill. Directed by Beki Baker. Choreographed by Kari Smith. Stage managed by Ash Barrett, Emma Ramsey and Justice Orrand. Presented by Lipscomb University Theatre, at Shamblin Theatre, Lipscomb University, Nashville. Through April 16. Running time: 2 hours, 30 minutes, with one 15-minute intermission.

PHOTOS BY LAURA ROCKETT

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