Review: PRIDE & PREJUDICE* (*SORT OF), Richmond Theatre

Sort of musical, sort of karaoke session, sort of a Jane Austen re-hash. Sharp and silly, Isobel Mcarthur's Pride & Prejudice* (*sort of) has the potential to be an unstructured mess, but has the joyous, slightly chaotic nature of an irreverent fringe production, with the wit and slick satire of a carefully crafted piece more than worthy of the West End.

The show did indeed run in West End run, sadly closing early due to Covid restrictions. It won an Olivier Award for Best Comedy and is now on an expansive national tour. And what a treat the country has in store.

Beginning with the premise of the servants re-telling the story, the cast of five work deftly and tirelessly to take on every role in Austen's comedy of manners; from all the Bennets and Bingleys to the majestic Lady Catherine de Burgh. The cast changes costume and positions on the stage with occasionally baffling speed. It jumps around furiously, but thanks to clearly defined costumes and some distinctly constructed characters, the audience never loses its place or sense of the plot.

Emmy Stonelake's Elizabeth is strong and sarcastic, with a broad Welsh accent that sits brilliantly with the forthright character. Her rendition of Carly Simon's "You're So Vain" at Darcy on their first meeting is scorching.

Lucy Gray has a hugely natural stage presence, playing a delightfully buffoonish Mr Bingley and his spiteful sister Caroline as an appalling snob; as the latter, her attempts at flirtation with Darcy are eye-wateringly awkward and amusing in equal measure.

Dannie Harris has a ball in her version of Mrs Bennett; a hilarious Cockney cross between a Queen Vic Landlady and Nancy from Oliver!. Her Darcy is disdainful and aloof, with the physical impression he really does have a stick up his backside.

Leah Jamieson flounces around as the headstrong Lydia and retreats into awkwardness as a very funny, cross-eyed Mary. Megan Louise Wilson is suitably placid and sweet as Jane, morphing into the supercilious monster of Lady Catherine de Burgh with ease.

The performances are all great, but it is often the smaller elements that show how thoughtfully this seemingly anarchic show is put together. Mrs Bennett's use of an asthma inhaler as she gets progressively worked up, the Wagon Wheels and pineapple and cheese hedgehog as party food and Mr Bennet, who is portrayed as an empty chair and open newspaper. The towers of cans of Irn Bru at the ball are also a lovely nod to the show's Glaswegian roots.

A little more of the bungling, nice-but-dim Mr Bingley and less of the overly monotone Mr Collins would have been appreciated. There is also an intriguing sub-plot of Lizzie's devoted friend Charlotte being in love with her that is tantalising, but ultimately underplayed. However, writer Isobel Mcarthur ensures the essence of the book is maintained throughout; the social constraints and courtship games of Lizzie and Darcy feel sincere and the audience is suitably overjoyed by the happy ending for all.

Ana Inés Jabares-Pita's rather sparse set is based around a sweeping staircase and a multitude of hardworking props, from a screen that doubles up as a toilet to platters piled with Ferrero Rocher and a majestic plastic horse. It is, rightly, the performances that take priority.

At its heart, this is a clever and incredibly funny production which takes Austen's masterful skewering of social niceties and ramps it up by ten. I think she would have whole-heartedly approved.

Check out Pride & Prejudice* (*sort of) Instagram Takeover and read our recent guest blog from cast member Lucy Gray here.

Pride & Prejudice* (*sort of) is at Richmond Theatre until 18 February, then touring

Photo Credit: Matt Crockett

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