In two American playwrights’ sequel to the novel “Pride and Prejudice,” American Stage has a Christmas comedy aimed to please readers of the book, fans of two movies, or the more recent extended TV episodes made from it, or all of these. But those who know nothing of Jane Austen’s iconic work can enjoy an introduction to her characters in situations two years after the novel’s end. However, the enjoyments may be different. Unlike the novel, the play does not revolve around Elizabeth (Lizzy) Bennet, now mistress of her husband Darcy’s inherited great estate of Pemberley. True, she does want to retain her own perspectives, but her struggle to do so (as Brooke Tyler Benson makes clear) serves as a frame for the play’s main story. That belongs to her sister Mary (strongly played by a no-nonsense Jenny Lester), seemingly destined to be a spinster, a social secondary character. Into a beautiful 1815 formal parlor with touches of comfort flanked by a library corner and on the opposite side a piano, will enter the Darcys’ holiday guests. Lizzy’s beloved sister Jane (sweet Sadie Lockhart),expecting, is much cared for by husband Charles Bingley (easy-going Lucas Calzada) He’s an almost always physically active, diplomatic contrast to his best friend Darcy. (Britt Michael Gordon embodies that handsome, sure-of-himself aristocrat, happy in his position and love for Lizzy.) Lizzy’s sister Lydia, hiding her less-than-happy marriage to absent Wickham is interpreted well by Courtney Anne McLaren as flirty and lively as ever. She’s the ultimate contrast to her bookish sister Mary, who’s also taught herself to master-playing the piano. Lydia’s roving eye will soon stop at Darcy’s seldom seen cousin Arthur de Bourgh, the almost-last guest to arrive. (Their deceased aunt’s daughter Anne—played to the haughty hilt by Katie Cunningham—is the last but only to complicate the plot a tad on Christmas Eve.) Josh Odsess-Rubin stumbles into Pemberley and takes over audience interest in the proceedings as the new Lord Arthur and also star actor in the comedy. He’s a clod at all but pursuing esoteric studies and avoiding interaction—much less anything approaching schmoozing—with others. He’s especially awkward with women, proving a challenge to anyone who might want to share his scholarly interests—or to awaken a romantic one. And so proceed the delightful, challenging goings-on at Pemberley. Most unusual of the technical work, Trish Kelley’s costumes immediately characterize each wearer in cut, color, texture. For instance, Darcy, his friend Bingley, and Arthur de Bourgh are all rich, titled men of responsibilities but they dress differently, according to their personalities. Mary’s gowns, not pretty, change in color and type of fabric as she does in her actions. My one quibble is that the women’s gowns all look like they’re brand new, just out of the costume shop, even when they come in from outside or travel. Joseph F. Oshry does his usual fine job of lighting, the visible equivalent of the production’s sound. The fine Christmas tree ornaments seem more sumptuous than they are, thanks to an inventive props manager. Credit the direction of Stephanie Gularte for a show in which a great deal of love has obviously been poured. She’s captured as much of Jane Austen’s spirit as do the authors who’ve succeeded her in depicting an 18th century family story. There are three actors mirroring the story’s romantic triangle while moving or adjusting stuff that makes scene changes. They are uncredited in the program but deserve some credit for the changes being, well, cute.
