Review: Pride and Prejudice* (*sort of) at York Theatre Royal

“…takes every opportunity to delight Austen fans…”

Pride and Prejudice* (*sort of), by Isobel McArthur after Jane Austen, York Theatre Royal

by Sean Sable

It is a truth universally acknowledged that few things provoke the ire of devoted Janeites more than a poorly executed adaptation of Pride & Prejudice. Fortunately for Isobel McArthur, writer and director of the smash hit Pride & Prejudice (*sort of), no mob of Darcy-mad bibliophiles need assemble. She has delivered a refreshing, clever take that honours Austen’s spirit whilst adding its own joyous, and often boisterous, twist.

Originally conceived for a brief two-and-a-half-week run at the Tron Theatre in Glasgow’s East End, Pride & Prejudice (*sort of) has since embarked on an impressive seven-year tour, highlighted by a four-month residency at the Criterion Theatre in London’s West End, where it garnered a Laurence Olivier Award for Best Comedy. In reimagining one of the most beloved period romances of all time, McArthur struck gold by choosing to tell the story from the perspective of the true unsung heroes behind every great period romance—the servants.

In this exceptionally witty adaptation, the all-female cast begin in simple white shift dresses to portray the servants, then swiftly layer on frock coats, empire-line gowns, and various accessories to transform into over twenty distinct characters. The dizzying costume changes are sharp and seamless, allowing each actress to jump from one memorable role to the next with impressive ease.

One of the most surprising—and successful—aspects of this adaptation is how McArthur captures Austen’s original light-heartedness by blending the old with the new. In a delightful mix of Georgian elegance and modern mischief, she creates a thoroughly convincing world where an elegant ball features Irn-Bru and red Solo cups. With each new set change, the audience were on the edge of their seats waiting to see what hysterical anachronism would appear next.

Although sometimes referred to as a musical, Pride & Prejudice (*sort of) is better described as ‘musically inclined’. Rather than full-scale musical numbers, audiences are treated to punchy bursts of karaoke and well-placed pop hits like Carly Simon’s You’re So Vain and Spandau Ballet’s True, sprinkled throughout the show for maximum impact. The musical elements are always aptly chosen and never overstay their welcome, making this production an ideal choice for theatregoers who might not be fully won over by traditional musicals.

Much like the original source text, it would be shortsighted to dismiss Pride & Prejudice (*sort of) as merely a frivolous bit of fun. Beneath each hand stuck in a Pringles can lies a reminder of the exhausting, relentless lives of Georgian servants. It was the labour of these unsung workers—the ones who often go unnamed in period novels—that allowed Mrs Bennet and her five daughters the luxury of pursuing marriage with such zeal.

The ensemble cast includes Susie Barrett, Emma Rose Creaner, Rhianna McGreevy, Naomi Preston Low, and Christine Steel. With such a vibrant and talented cast of young actresses, it’s no surprise they manage to balance their performances so skilfully. At various points in the show, I found myself thinking, “They just stole the show!” about each actress in turn. From Rhianna McGreevy’s perfectly brooding Mr Darcy to Naomi Preston Low’s loud-mouthed, charmingly northern-accented Lizzy, there wasn’t a dud in the bunch. But rising just a hair above the rest was the indomitable Emma Rose Creaner, whose lightning-fast shifts between the “lads, lads, lads” energy of Mr Bingley and the rickets-inducing shadiness of his sister Caroline left the audience howling.

The two-tiered set, featuring a grand curved staircase, was cleverly designed to transform seamlessly with minimal adjustments—from the cosy sitting room of the Bennet household to the elegant gallery at Pemberley and everywhere in between. This versatility was matched by the costume design, which managed to stay remarkably faithful to the period while playfully nodding to previous adaptations. The costumes were agile, allowing the actors to slip in and out of character in seconds. Although there were a few minor sound gremlins in the performance I attended, they were easily overshadowed by the sheer charisma and energy of the performers.

A loving send-up of its source material, the comedic brilliance of the show cannot be overstated. From the Pythonesque horse ride to Netherfield to the collective gasp when Darcy arrives at Pemberley conspicuously dry, this show takes every opportunity to delight Austen fans. Ribald and witty, with a generous dose of sight gags and crowd work, this adaptation promises to charm everyone—even those who might typically turn their noses up at a period piece. At the play’s close, the cast hangs a sign reading, “If you liked it—tell someone.” So, here’s my advice: go see Pride & Prejudice (*sort of). You’ll thank me later!

Pride and Prejudice* (*sort of) plays at York Theatre Royal until Saturday 09 November. Tickets can be booked here.

Sean Sable is a Yorkshire-based freelance writer and editor specialising in Young Adult and Horror fiction, frequently at the same time. When she isn’t buried under a pile of books and manuscripts, she is looking for her keys and having extensive one-sided conversations, in Swedish, with her deaf cat. You can find her online at: www.seansable.co.uk