Review: ‘Pride and Prejudice’ at Shakespeare Tavern turns a new page on an old story

Adaptations of Jane Austen’s seminal Pride and Prejudice are hardly uncommon, given that the story has been dazzling readers and audiences since 1813. This most recent adaptation, written and directed by Claire F. Martin, focuses on the relationships among the Bennet sisters, with a stellar cast and witty script serving to augment the theme. A co-production between the Shakespeare Tavern and Belle Esprit, it runs through June 1.

The story, as many of us know, follows the Bennet family of Hertfordshire as they attempt to find marriage matches for their daughters. Martin’s script is ebullient and often funny, though her modernization of the dialogue loses much of Austen’s original elegance, with varying returns. Unlike lesser adapters, however, she displays a keen awareness of the possibilities created when moving a story from one medium to another.

Being unshackled to any specific character’s point of view, Martin expands the narrative scope by letting the audience in on scenes that are only hinted at in Austen’s novel, such as Darcy discussing his feelings for Elizabeth with Bingley, some private interactions between Jane and Bingley and Wickham’s attempted seduction of Georgiana Darcy. While these additions alter the flow of the story, they also serve to build investment in the other characters, allowing them to exist outside of Elizabeth’s perception of them.

What is particularly captivating is this adaptation’s increased focus on Elizabeth’s relationship with youngest sister Lydia, the progression of which goes from nonexistent in the source material to the most supported storyline in the play. I dare say that Martin’s resolution to Lydia’s storyline is more satisfying than Austen’s, even adding an additional dimension to Elizabeth’s character growth.

Similarly intriguing is how Martin has pulled the background character of Georgiana Darcy to the forefront, highlighting Wickham’s manipulation of both her and Lydia to further illustrate the ways marriageable young women are taken advantage of by men.

The cast is impeccable, anchored by the electric chemistry between Tyra Watkins’ Elizabeth Bennet and Nicholas Tycho Reed’s Fitzwilliam Darcy. Austenian romance thrives on prolonged yearning, but the magnetism between these two is so strong, I was briefly concerned Martin would ruin that yearning by having them kiss prematurely.

Watkins nails Elizabeth’s acid tongue, though she also gets the worst of Martin’s modernized dialogue. The infamous proposal scene between Elizabeth and Darcy, while lacking much of the physical restraint Austen’s romances are known for, benefits hugely from the actors’ impassioned performances.

Reed is an empathetic and funny Darcy, playing into the character’s social awkwardness more so than his snobbery. Martin’s script gives us more insight into Darcy’s perspective throughout, which gives Reed more layers to play with, though it also makes Darcy a less mysterious character from the jump.

The other actors are uniformly excellent, though some performances are muddied by the excessive double casting. Alejandra Ruiz, while a standout in all of her roles, is the biggest victim of this problem. Ruiz plays Lydia Bennet, Charlotte Lucas and Georgiana Darcy, all major characters with significant stage time, and, while she brings appealing layers to each, her characters are the most difficult to distinguish. This is at least partially the fault of the writing and direction, but it often takes a minute too long after a new scene starts to realize that Ruiz has switched characters. Costume designer Anné Carole Butler tries to help by providing different costumes for each character, but the differences usually stop at a different color coat — Lydia and Georgiana’s costumes are nearly indistinguishable.

The true chameleon is Daniela Santiago, who all but vanishes into her roles as the shy and demure Jane Bennet, as well as the imperious Lady Catherine. Likewise, Quinelle Bhandari, though her roles are less substantial, is so distinct as Mr. Bennet and Caroline Bingley that I didn’t realize it was the same actor until near intermission. 

Amanda Lindsay McDonald is a near constant comedic delight as the frazzled Mrs. Bennet and the spritely but insufferable Mr. Collins an inspired double casting. And while Kevin Roost may not quite disappear into his roles, he has a flexible charisma that fits both the adorable Mr. Bingley and the rakish Wickham. In a bit of tongue-in-cheek casting, Roost also plays Mary, the second-youngest Bennet sister. (Kitty, the fifth Bennet sister, is omitted from this version.)

For its few hiccups, Martin has crafted a charming and even moving adaptation. Austen’s original themes of hasty judgment and preconceptions are not exactly at the forefront, but the increased focus on sisterhood makes for a refreshing change, and none of the alterations go so far as to lose what makes the story compelling. For old fans and newcomers alike, this Pride and Prejudice is a jolly good time.

Where & When

Pride and Prejudice, a co-production between the Atlanta Shakespeare Company and Belle Esprit, is at the Shakespeare Tavern through June 1. Tickets, $20.
499 Peachtree St. NE.

::

Luke Evans is an Atlanta-based writer, critic and dramaturg. He covers theater for ArtsATL and Broadway World Atlanta and has worked with theaters such as the Alliance, Actor’s Express, Out Front Theatre and Woodstock Arts. He’s a graduate of Oglethorpe University, where he earned his bachelor’s degree, and the University of Houston, where he earned his master’s.