Does the world really need another stage adaptation of Jane Austen's Pride and Prejudice? Probably not, but that doesn't prevent us from enjoying the wonderful adaptation by Milwaukee Repertory Theater Artistic Director Joe Hanreddy and noted stage director J.R, Sullivan.
This version of Austen's 19th-century novel should please her fans as well as newcomers. J.R. Sullivan is a familiar name in Milwaukee, as he has directed a number of productions with the Milwaukee Rep. It's tempting to say that Pride and Prejudice is his best effort to date, if saying that would not diminish his other outstanding work. Together, Sullivan and Hanreddy have created a stage piece that is accessible, well-paced and delightful to watch.
The adaptation stays true to the novel's characters and plot (only a few episodes in the 400-page novel were trimmed). Through the eyes of richly tailored characters. Austen's novel exposes the social injustices in 1800s England.
At the heart of the story is the Bennett family. Although the Bennetts are middle-class, they need the wealth of the upper-crust in order to keep a roof over their heads. As the play opens, we meet the five marriageable Bennett girls. Elizabeth, the novel's principal character, is the oldest daughter. She is wise, willful and opinionated. Her younger sister Jane, to whom she is closest, is a gentle, doe-like creature. The other sisters are somewhat less delineated. It's clear from the outset that their mother's sole purpose is to marry off at least one of her daughters to a wealthy man. If she doesn't, they will lose their home when her husband dies (due to the details in an ancestor's will).
As Mrs. Bennett, Laura Gordon manages to stay just on the brink of obnoxiousness. Ironically, Mrs. Bennett's behavior sometimes thwarts her own ambitions. Her crudeness is not lost on the upper crust, whom she meets at local social events. They wonder aloud if the Bennett daughters are a prize worth having, if it means being attached to this irritating mother. Still, a wealthy man who moves into the neighborhood, Mr. Bingley, is smitten by the innocent, fawn-like beauty of Jane Bennett. Gerard Neugent brings humor and generosity to Mr. Bingley's likable character, and the audience roots for his alliance with Sarah Ruten as the lovely, modest Jane.
Mr.Bingley's cheerfulness is a striking contrast to his moody, scowling friend, Mr. Darcy. Although Darcy is exceptionally handsome (especially as represented by Grant Goodman), the Bennetts consider him to be rude and selfish. He makes no excuse for thinking himself far superior to the Bennetts. This attitude is especially agitating to Elizabeth, who returns his comments with sharp retorts. Intrigued, Darcy starts to become infatuated with this smart, plain-speaking woman.
The success of Pride and Prejudice depends on the chemistry between Elizabeth and Mr. Darcy. In every scene, we must see them as being especially well-matched. Lee Stark is a sparkling, radiant Elizabeth. Her plain clothes and slightly unkempt hair seem almost as unimportant as Cinderella's rags. Mr. Darcy must see beyond Elizabeth's plain appearance to mark her intelligence and inner beauty. He does. And so the tale proceeds as it was written by Jane Austen about 200 years ago.
The rest of the large cast does an exceptional job of breathing life into their various characters. Brian Vaughn, as a simpering clergyman, is wonderful to watch. His patroness, Rose Pickering, is memorable despite making only a few appearances. Her character's signature expression (as if she is sucking on a lemon) is priceless.
Although women dominate the Bennett household, Jonathan Gillard Daly brings an upbeat and occasionally sarcastic edge to his role of Mr. Bennett. Although Mrs. Bennett would clearly take a mile if she could get it, Mr. Bennett delightfully puts her in her place.
The set is not luxurious, other than a wide mural that extends from one edge of the theater wall to the other. It paints a bucolic scene that is not replicated by the actions of the characters below. In order to keep the play moving, set pieces are minimal to the point where chairs and large tables are replaced by benches and easily transported accent tables. Much of the credit belongs to J.R. Sullivan's excellent staging. He keeps the actors moving most of the time. It quickens the story and, before you know it, almost three hours have passed.
