Review: Pride and Prejudice* (*sort of) Brings New Twist To Old Classic

★★★★☆

The Scoop Pride and Prejudice* (*sort of)

How do you reinvent one of the most beloved novels ever written? If you’re Isobel McArthur, the answer is simple: hand the microphone to the servants and let chaos reign.

Direct from its Olivier Award-winning West End run, Pride and Prejudice* (*sort of) arrives at Athenaeum Theatre Melbourne with all the romance, scandal and social climbing of Jane Austen’s original, but viewed through the eyes of the women usually left hovering in the background. The result is a delightfully raucous, wildly inventive and funny celebration of Austen’s enduring classic.

Rather than centring the wealthy families at the heart of Austen’s novel, she shifts the focus to the servants who are usually left hovering at the edges of the story, quietly observing the romantic entanglements and social manoeuvring of their employers.

As they clean, gossip and pour drinks, they retell the entire tale themselves, playing every character and offering their own cheeky commentary and power ballads along the way.

If the idea of weaving pop songs into Pride and Prejudice gives you pause, any concerns will disappear the moment Elizabeth Bennet launches into a powerhouse rendition of You’re So Vain aimed squarely at Mr Darcy. The contemporary soundtrack injects fresh energy into familiar scenes while reinforcing the emotional stakes beneath the comedy.

What makes this production truly remarkable is the extraordinary work of its five-person cast, who collectively portray more than twenty characters.

Trying to comprehend the sheer number of quick changes makes my head spin, and I cannot even begin to imagine how Ana Inés Jabares-Pita designed the costumes to pull it off. These aren’t even simple costume swaps but elaborate transformations involving richly coloured gowns, wigs and accessories that seem to appear in seconds.

No one demonstrates this feat better than Amy Lehpamer.

Her first-act performance is a masterclass in versatility. Watching her move seamlessly from the affable larrikin charm of Mr Bingley to the pining plain Charlotte Lucas and then straight into a delightfully Trude and Prue from Kath & Kim-esque Miss Bingley is genuinely astounding.

Every character feels fully realised despite often appearing for only moments at a time. Lehpamer’s ability to switch gears so effortlessly is captivating.

Teo Vergara shines as Elizabeth Bennet, delivering rich and controlled vocals throughout the evening. Vergara brings a sharp wit and playful sass to Lizzie while never losing sight of the character’s vulnerability. Their speaking voice also bears an uncanny resemblance to Emma Watson, which somehow feels perfectly fitting.

Zoe Ioannou excels across multiple roles but truly comes into her own as Mr Darcy. Her physical comedy is impeccable, with every raised eyebrow, pout and lingering stare landing precisely where it should. The lighting design seems to know exactly when to catch one of Darcy’s trademark expressions, amplifying every comedic beat.

Kaori Maeda-Judge deserves special recognition as the company’s resident quick-change magician. Whether appearing as the sweet and gentle Jane Bennet or the gloriously over-the-top Lady Catherine de Bourgh, her transformations are astonishing. Each character is distinct not only in costume but in voice, movement and energy.

Ruby Shannon brings a wonderful quality to her collection of eccentric characters. Her kazoo-playing servant proves one of the evening’s most unexpectedly hilarious highlights. Shannon approaches even the kookiest moments with a stoicism and grace that belie her newcomer status.

Every member of the cast deserves praise for creating such vividly distinct characters. The vocal and physical transformations go far beyond costume changes, and the work of Jennifer White as the dialect coach and Simone Sault as the choreographer is evident throughout.

I also love the Australian flourishes woven into the production. The total anachronism of seeing a wagon wheel and a Viennetta served at a regency-era ball just lit up the child in me. Thank you to Australian tour director Simon Harvey for bringing a little Aussie twist to this production.

Faithful to Austen while gleefully tearing apart convention, Pride and Prejudice* (*sort of) is an inventive, joyful and brilliantly performed theatrical experience. It honours the original while creating something entirely its own. Jane Austen would probably be horrified. Everyone else will have an absolute ball.

Pride and Prejudice* (*sort of) runs in Melbourne to 12 July at the Athenaeum Theatre as part of a national tour.

See full details below.

Tickets: https://www.prideandprejudicesortof.com.au/#book

Website: https://www.prideandprejudicesortof.com.au/

Socials: https://www.instagram.com/prideandprejudicesortofau/