There couldn’t be a better setting for a play that pays homage to Jane Austen’s beloved characters, fitfully titled Austen in Therapy, than the Bishop’s Parlour at Abbotsford Convent. With high ceilings, aged wood details, a chandelier and stately curtains, the room easily transports the audience into the Regency era where a group therapy session is being held.
You’ll find many of your favourites here; Lizzy, Emma and the sisters of Sense and Sensibility, to name a few. Sharmini Kumar’s new work answers the question so many Austen lovers have: what happens to these women once the stories end? But Kumar also explores how the characters would engage with each other if stuck in a room together – which is where the writing is at its most unique and enjoyable. Kumar’s dialogue includes many quick barbs and she plays with a range of relationship dynamics that create room for new moments of humour and gravitas between so many well-known literary personalities.
But with so many characters sharing the stage, it’s unsurprising that Kumar struggles to find conclusions to their narrative arcs (bar one). For a group therapy session it’s not very successful. Realisations are half explored, conclusions rushed through and commitments to make change – or not. However, there is enough tête à tête between the women, and wink wink, nudge nudge references to the original texts, for Austen fans to have an enjoyable time – if not for some grating directorial choices by Kate Ball.
Not even a genuine therapy session would use a venue’s cold fluorescent overhead lighting, especially if two spotlights had been especially brought into the space. These spotlights are used, though barely visible through the fluorescent wash, for perhaps a five-minute duration that corresponded with a character discussing racism in Austen’s England and – by inference – current Anglo-European society in general. However, there is no emotive drive to reward this lighting change and so the spotlight on the only person of colour in the cast comes across as a display of white guilt.
One may think the garish lighting is a signal to expect audience participation, if the offer to put on name tags at the door wasn’t enough of an indication. But contrary to expectation – and likely welcome news to many – the audience is never called on.
Read: Exhibition review: Lucy O’Doherty: The Drifting Place, China Heights Gallery, Sydney
In a post-Bridgerton age, it’s clear that historical inaccuracy doesn’t hinder audience enjoyment, but given the venue’s antique atmosphere and that Kumar’s work oozes adoration for Austen, the cast’s hairstyles show the production has an incongruent lack of care in committing to the Regency aesthetic. A cohesive style across the cast isn’t delivered either. Perhaps this could all be forgiven if not for performance styles that also lack cohesion, moments of deadpan expression that belie emotive vocal delivery and some one-note and wooden performances.
Kumar’s new work is a strong concept that is fairly well-realised but it requires a stronger directorial vision to match Austen’s capacity to entertain.
Austen in Therapy by Sharmini Kumar
Bishop’s Parlour, Abbotsford Convent
24 Carrot Productions
Director: Kate Ball
Cast: Bella Crawford, Luci Fossil, Eleanor Golding, Avril Good, Tiffany Kennedy, Sonia Marcon,
Rebecca Symonds, Chloe Towan
Tickets: $25-$35
Austen in Therapy will be performed until 1 June 2025.
