A punchy, witty but sometimes rushed modern adaptation of a literary classic
Austen’s most famous novel has cemented itself as a mainstay in the British literary
canon and has been the subject of many adaptations as it has grown in popularity.
Isobel McArthur’s Olivier award-winning attempt is hot off a successful run in the
West End for its inaugural UK tour, making a stop at the Lowry in Salford. While the
piece is not the most refreshing adaptation, it does shoehorn in some modern
references that locate it in our present. However, it is less in these moments that the
best comedy comes, but in the subversion of tropes that really get the audience
laughing.
The plot is a pretty straightforward retelling of the novel with some added in subplots,
such as Charlotte Lucas (main character Elizabeth’s friend) harbouring attraction to
her protagonist pal, and these alterations are welcomed and ought to be leant into
more. The story is told by only 5 performers who have a large amount of multi-role
responsibility, which they achieve with flair and seamlessness. There is also a panto-
esque peppering of pop bangers (say it don’t spray it) throughout, which offer breaks
to the regular storytelling. However, these moments are nowhere near as slick or
effective as the narrative moments, as the performers are not as quite as confident in
their singing ability as their comedic timing. This means they end up somewhat
underwhelming and occasionally awkward. It didn’t stop me tapping my toes to
‘Young Hearts Run Free’ however.
There were frequent panto-inspired moments including asides, singing, and
impressive quick changes. These were never as effective as the subversions the
writing and performances often exhibited, such as brooding Darcy’s dramatic reading
of his letter to Elizabeth being interrupted by his spotlight disappearing eliciting the
biggest laugh of the night. These moments were seldom, and worked because they
were unexpected, and were far wittier than much of the bawdy humour elsewhere in
the show.
The stage design stayed the same throughout, but smaller set pieces provided for
good moments, such as patriarch Mr. Bennet’s absence providing not only laughs
but also a nod to the novel’s feminist commentary. The lighting was balanced well,
providing moments of light and darkness for both dramatic effect and comedic
moments. The decision to use a karaoke mic machine was interesting. While it did
elevate the performer’s voices, it did create an amateurish effect that might have
been solved with simple head mics. Along the same lines, a band might have been
more welcome than the tinny backing tracks throughout the songs.
It was a mixed bag of positives and negatives in almost every area, as I’ve
illustrated. Overall, the best moments were often too short-lived (horse-riding scene,
the smashing of the vase, Darcy’s proposal) and if given more breathing space might
have been enjoyed more. However rather oxymoronically, the show also felt
somewhat bloated so some cutting of scenes might have benefitted it.
Saying that, it was no doubt entertaining. What was most impressive was the show’s
ability to be multiple things at once effectively. It was a hilarious comedy whilst also
having moments of pathos. It was creative in its introduction of new subplots but also
took direct influence from the source text (for example, a lovely inclusion of the quote
‘What are men to rocks and mountains?’). This is no mean feat, and it was a
pleasure to see this classic story given the honour it deserves.