Pride and Prejudice: quick links
Pride and Prejudice seems to be a gift of a work that keeps on giving – another British iteration is about to hit Netflix as we speak. Bloomshed’s version is like no other, and all the better for that. After all, how many early 19th century maidens in need of a husband, with rapacious mothers and beset by unfortunate inheritance rules can we handle?
Set on a wedding-cake and accompanied by Astor Piazzola’s irresistible tangos, with the occasional group dancing, not a cotillion or scotch reel in sight, the action is fast and furious, the energy high, the laughs continuous – and the brain is engaged throughout.
Pride and Prejudice: even more overtly about money
Bloomshed takes the well-known-to-most tale and shakes it into the modern day – the class system here is, if possible, even more overtly about the money: following it, acquiring it by any means and showing the smugness and insensitivity its acquisition can produce in its hoarders.
Along the way, we see some of the nastier ways in which the super-rich make their billions – baby farms, anyone? This will give you some idea of how prescient and in-your-face some of the ideas woven into this production are. The characters say whatever they think, in the modern way, with blunt language and little censorship. Unlike Austen’s hyper-polite manners, this makes for a very funny, pithy, satire-filled evening.
It’s also very silly and naughty, and explores as many contemporary tropes as it can, much to the amusement of the audience. There’s a barb, or a political point, or both combined, in almost every line.
Pride and Prejudice: actors play multiple roles
The company of talented actors work well, relishing multiple roles; some cross-dressing – inevitable in small amateur groups of our past experience – is exploited to hilarious effect: veteran actor Syd Brisbane must spend the entire 80 minutes of the show changing costume when he isn’t onstage being assorted monstrous and pathetic characters.
At least one character has been magicked into a metaphor (Mr Bennet); and pompous, moneyed Darcy (James Jackson) and dopey, temporarily moneyed Bingley (James Malcher) are targeted for the blindness of their world views and ruthless pursuit of income. Bingley has always teetered on dopiness, even in the conventional versions of this piece – and Darcy’s always the most difficult of roles to make sympathetic – Matthew McFadyen in Joe Wright’s movie version is best of the bunch by far (and he even remains clothed throughout!). Here we see Darcy as written – fully clothed – without any romantic overlay.
The pragmatic arrangements that the Bennet girls’ marriages are, romantic feelings between Elizabeth and Darcy notwithstanding, often echo today – although the bargains may be struck differently.
This is a very smart piece of theatre. Nicely designed, well directed by James Jackson and Elizabeth Brennan, modern, tough and funny. And still Austen’s Imperishable story shines through, Bloomshed‘s take giving us new ways of seeing it.
Pride and Prejudice will be performed at Darebin Arts Centre until 10 August before touring to Geelong Arts Centre from 15-16 August; Bunjil Place from 22-24 August; and Canberra Theatre Centre from 15-18 October.
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