Review by Anja Bless
One for the BBC, classical music, and Jane Austen lovers out there, this adaptation of Pride and Prejudice is a delightful night out at Sydney Opera House. Featuring the internationally acclaimed pianist Melvyn Tan and violinist Madeiline Easton, alongside the accomplished Australian actor, Nadine Garner, this performance is an enjoyable exploration of Austen’s most famous story and its ongoing relevance.
The performance opens with a first act focussing on the music from the famous soundtrack of the BBC 1995 television adaptation of Pride and Prejudice composed by Carl Davis (and also originally performed by Tan himself), as well as other pieces that were emerging at the time when Austen was writing the novel. This section provides some useful context for the novel, the setting in which the story takes place, and also how Regency romances have evolved in modern times, with the advent of series such as Bridgerton. While informative, with some outstanding solos and duets between Tan and Easton, this section of the performance is perhaps a bit unexpected for those expecting only to see a stage adaptation of the novel. More polish and rehearsal for this section of the performance would have also helped to ensure its pitch was tailored correctly for the audience, many of whom were clearly well acquainted with Austen and the evolution of classical music.
Dedicating the entire first act to this combination of conversational lecture and musical performance then left relatively little time for Garner in the second act to perform her theatrical retelling of Pride and Prejudice itself. Despite a few clumsy transitions, such as when Garner appeared briefly at the end of the first act only to exit stage again and leave the audience somewhat confused as to whether the interval was beginning, Garner’s reading of this abridged version of Pride and Prejudice was exceptionally entertaining. Inspired by the notion of how those in Regency England might have read aloud to each other in their drawing rooms, Garner ‘reads’ us Pride and Prejudice, adopting different physicality and vocalisations for the characters, which the audience found particularly entertaining. Special mention must go to her portrayals of Lady Catherine de Bourgh and the prideful Mr Darcy. Audience members in the first few rows would be able to see that Garner was reading from a script filled with highlights and annotations. While is not a concern itself, it did occasionally distract from the illusion of the Regency drawing room. On the other hand, the interactions between Garner, Tan, and Easton as they accompanied her performance were lovely to see, reminding the audience of the purpose of the performance in featuring the music of Pride and Prejudice as much as the words. Gill Hornby’s adaptation of the original novel was clever in abridging the story enough to keep its wit, as well as the major plot points. Although, there was opportunity to bring in more of Austen’s excellent dialogue. If the first act had also included some of the retelling component of the performance, this could have perhaps been achieved.
On the whole, this adaptation of Pride and Prejudice makes for a very enjoyable evening, with expert performances from Tan, Easton, and Garner, offering something for everyone. From the die-hard Austen fans to the newly introduced Regency romancers, and the classical music enthusiasts alike.
Image Credit: Robert Catto
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