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

How many ways can you re-tell Jane Austen? Isobel McArthur continues to prove it is more than possible to stage a show bursting with silliness, satire and the sharpest wit without losing the essence of Austen's beloved work.

As writer and now sole director, McArthur brings a few tweaks to her version of Pride & Prejudice (*sort of) in this new nationwide tour. Proving why it was a worthy winner of the Olivier for Best Play in 2022, it's still brimming with energy, surprisingly sweary and laugh-out-loud funny. 

We begin with the servants; ever-present even if rarely acknowledged. They act as narrators to the story, bringing us the tale of Mrs Bennet searching for husbands for her five daughters to try and safeguard the future of the family. Staging the show with five women is masterful, giving a knowing nod to Austen's advocation for female equality and recognition.

The talented cast of five multi-role showing incredible range; slipping between characters, accents and costumes seamlessly. Emma Rose Creaner is wonderful; blustering and clueless as Bingley; hilarious as a flouncing and snobbish Caroline Bingley and touchingly wistful as a Charlotte Lucas who secretly longs for Lizzie (more of this storyline please).

Rhianna McGreevy jumps between aloof gravitas as Darcy and foul-mouthed, hysterical drama as Mrs Bennett. McGreevy certainly channels Alison Steadman in her very funny interpretation of the ebullient character, but more as Pam from Gavin And Stacey. I expected her to utter "Oh my Christ!" at any moment.

Naomi Preston Low is smart, brusque and more unsympathetic as Liz Bennet than usual, with no real kindness shown to anyone other than her sister Jane. Christine Steel is suitably sweet as Jane, horribly creepy as Mr Collins and more than slightly terrifying as the hawkish Lady Catherine de Burgh.

Eleanor Kane stomps around as a petulant Lydia and manages to give the often overlooked Mary a little more ambition and agency. The whole cast work together very fluidly, executing the physical comedy (kudos to Jos Houben's comedy staging) with real skill.

Staging remains very similar, set on and around a sweeping staircase wallpapered with book pages. There are lovely nods to the Scottish roots of the show with Irn Bru and Tunnocks Teacakes being served at the Meryton ball. Lizzie and Jane sit chatting on the sofa passing a box of Frosties between them and Mr Bennet remains cleverly represented as an open newspaper behind a wingback chair. It is simple, but works.

Music plays a large role in the show, with sparky and knowing karaoke renditions of Carly Simon's "You're So Vain" and Bonnie Tyler's "I Need A Hero". Not all the singing is of the highest quality, but the actors all lean into it real gusto. It is also a very slick device to infuse modern messages into the period setting.

There is so much cleverness within the sillliness here, leading to a big-hearted and joyful production that everyone from die-hard Austenites to period drama haters can genuinely enjoy. It is a treat to see this show out on tour once more.

Pride & Prejudice (*sort of) is at Richmond Theatre until 1 March, then touring the UK until 14 June

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