Pride and Prejudice : Lost in Translation
Compressing a wonderfully written classic novel into a two-act drama is always a major challenge. As it is virtually impossible to present a similar depth of character or intricacy of storyline, an adaptor is forced to make choices on what to omit.
In her adaptation of Jane Austen’s Pride and Prejudice, Janet Munsil has chosen to concentrate on the story of the rocky romance between Elizabeth Bennett and Mr. Darcy. Admittedly, this is the central theme of Austen’s rich novel, but it is only one aspect of her picture of the social scene in 19th century England. For example, when Lydia, the youngest of the Bennetts’ five daughters, returns after her elopement, she pushes ahead of her sisters to point out that, as a married woman, she takes precedence over the unmarried four. This key scene has vanished from Munsil’s episodic adaptation, although she retains Lady Catherine de Bourgh’s shock that all five daughters are “out” in society at once. The two, to my mind, belong together and are much more effective if both are included.
There are also some bothersome anachronisms. For instance, when Mr. Bingley and Jane, the oldest Bennett daughter, agree to marry, she shouts out that they are engaged. Apart from the fact that she would be more likely to say “betrothed,” she would not say anything at all until he had spoken to her father and obtained permission for the liaison.
Some other aspects of the production appear out of synch. The huge white flowers that dominate the set and the curved flats may have been designed for easy transportation as the production appears in two locations, but it is difficult to see a better reason for the design. Another oddity is director Dennis Garnhum’s decision to have Jane and Elizabeth discussing a confidential letter from Darcy while bathing, wearing their clothes and with their sisters nearby.
The short encounters between characters, often using Austen’s words, are generally effective, but anyone unfamiliar with the novel or one of the successful large or small-screen adaptations would probably have trouble establishing all the connections and gaining a real understanding of the social structure of the time.
Among a generally well-chosen cast, the most impressive performance comes from Terry Tweed in the sharply contrasting cameos of Lady Catherine de Bourgh and Darcy’s housekeeper, Mrs. Reynolds, with Elizabeth Stepkowski-Tarhan’s portrayal of the twittering Mrs. Bennett close behind. Pierre Brault, too, has fun with making the minister Mr. Collins as odious as possible.
As Elizabeth and Darcy, Shannon Taylor and Tyrell Crews deliver clear, disciplined characterizations but there is little evidence of the fire that Munsil appears to have been seeking when she distilled Pride and Prejudice to be little more than a line drawing of a 19th century romance.
Pride and Prejudice continues at the NAC to December 8.
Director: Dennis Garnhum
Set and costumes: Patrick Clark
Lighting: Jock Munro
Choreographer: Anita Miotti
Cast:
Mr. Bennett…………………………………………Allan Morgan
Mrs. Bennett………………………………………..Elizabeth Stepkowski Tarhan
Jane…………………………………………………Gemma James-Smith
Elizabeth……………………………………………Shannon Taylor
Mary………………………………………………..Pippa Leslie
Kitty/Lady Anne de Bourgh……..…………………Leda Davies
Lydia………………………………………………..Laura Huckle
Mr. Gardiner………………………………………..Michael Spencer-Davis
Mrs. Gardiner……………………………………….Alix Sideris
Mr. Darcy……………………………………………Tyrell Crews
Georgiana Darcy……………………………………..Julia Guy
Mr. Bingley………………………………………….Brendan McMurtry-Howlett
Caroline Bingley…………………………………….Anna Cummer
George Wickham…………………………………….Karl H. Sine
Charlotte Lucas………………………………………Ellen Close
Mr. Collins……………………………………………Pierre Brault
Lady Catherine de Bourgh/Mrs. Reynolds…………..Terry Tweed