Theatre works based on Jane Austen and her writing seem to be everywhere at present. Penny Ashton’s show Promise and Promiscuity is but one of several in Melbourne, all with very different approaches. Her version focuses on mining the characters and storylines of Pride and Prejudice and Sense and Sensibility in particular.
Ashton portrays an Austen-like female character who is writing pirate adventure stories under a male pseudonym, surrounded by familiar Austen characters: a vapid matchmaking mother, a dopey younger sister, a ghastly (adenoidal and phlegm-ridden in this case) male relative who will Inherit All, and the rich folks who have (mostly) big balls – so many innuendos! – and hand out unending snooty disapproval, or hearty Hooray Harry appreciation (the P and P Bingley character), before our Lady Writer ends up – with almost no previous interactions – and as we all knew she would, with the Darcy of her tale.
Along the way Ashton sings her own amusing lyrics relevant to the storyline, set to excerpts from Delibes’ ‘Flower Duet’ from Lakmé, Beethoven’s 5th Symphony, several Strauss melodies and ‘Greensleeves’, the last accompanying herself on the ukulele. She has a lovely strong, clear voice and it would have been better had the singing began earlier, but I guess the storyline had to be set first.
Austen’s characters are so well-known to us by now through the assortment of movies as well as the original books – there are claims Pride and Prejudice alone exists in 17 film/TV literal or ‘modern takes on’ versions! Having seen three of the best-known versions (Laurence Olivier and Greer Garson, 1940; Jennifer Ehle and Colin Firth, 1995; Keira Knightley and Matthew McFadyen, 2005) and the Ang Lee film of Sense and Sensibility, one of the delights for this reviewer is the array of juicy roles for actors. Everyone is eccentric, even our heroes and heroines – never mind the other, less central, roles in each story.
Ashton embraces this irresistible offer in broad strokes, apart from her central Lady Writer, who is mostly a more modern creature. However, even the most extreme character is a human being and it would have been more interesting if they each had a journey through the story – more satisfying for the audience, and surely for the actor as well.
Vapid Mother, Grand Snobby Rich Bitch, Dopey Young Sister, Ghastly Snot-Ridden Male Relative, Hearty Rich Boy and Darcy Avatar could be more than their cartoon outlines. They could also be more different vocally, especially the two older women and more like real people for our Lady Writer to really relate to, thus keeping the audience engaged in what might happen, when really we know all along, but the ride is what keeps us interested, and maybe surprised. I know it’s a romp, but romps can make us think and relate, as well as make us laugh.
A director’s overview would be good to hone the details of each role, as Ashton swaps with lightning speed from one to the other, and to find moments, however tiny, of feeling and quirky humanity amid the gags.
The audience had a great time, and in the performance this reviewer attended, a Mr James Chisholm from the audience was especially obliging to our Lady Writer in her moment of ‘tripping the light fantastic’ (which I thought was an anachronistic usage, but turns out to be Milton).
Read: Book review: The Foal in the Wire, Robbie Coburn
The musical backing arrangements are nicely done, the costume and accessories work well, and Ashton’s energy and enthusiasm are infectious. Austen fans will enjoy listening out for the references and the skewing of the original sense for a modern sensibility!
Promise and Promiscuity
Chapel off Chapel
Writer and performer: Penny Ashton
Musical arranger and conductor: Robbie Ellis
Costume-maker: Elisabeth Whiting
Tech: Rohan Dimsey
Promise and Promiscuity was performed on 14-15 June at Chapel off Chapel. It will be touring to Newcastle on 19-20 June at the Royal Exchange, Sydney on 22 June at The Genesian and Canberra on 25-25 June at The Street Theatre.
