Pride and Prejudice (sort of)
Isobel McArthur (after Austen)
Moss Empires Ltd
Theatr Clwyd
September 29-October 3, 2026; 2hrs 15mins
(also at Buxton, Liverpool, Darlington, Bradford, Blackpool. See address below for full details)
It is a truth, universally acknowledged, that the 250th anniversary of Jane Austen's birth has spawned a host of adaptations of her most famous works, especially Pride and Prejudice.
How do you add something different to this well-thumbed and deeply satisfying novel without ruining it? Isobel McArthur certainly succeeded: her Pride and Prejudice* (sort of) won the best-comedy Olivier award in 2022.
This Pride is at times a bawdy spoof with a welcome premise: that there are two spheres of existence - upstairs and downstairs - and in this case the story is told by the servant class. It is important that these normally silent and ignored witnesses to the social lives of the upper classes are recognised; after all they have, as one maid comments, seen all the characters naked.
The show resists the temptation to spring surprise plot changes (which would merely annoy those who cherish the book) relying instead on contemporary attitudes, humour and a bit of coarse language to provide a decidedly rib-tickling evening. Of course, Darcy ends up with Lizzie, but gone is the polite, precisely-mannered Elizabeth Bennet. This Lizzie, played by Georgia May Firth, is a feisty ladette unafraid to speak her mind.
The all-female cast members take on multiple roles and it's hard to pick a favourite, since they all make distinctive contributions. Phoebe Marshall has a lovely comic touch, and Roxanne Morgan brings headstrong Lydia and the awkward Mary to life. Julia Murray portrays the roles of Darcy and Mrs Bennett and has some lovely slapstick moments. Eva Hope is pomposity personified as Lady Catherine de Burgh.
The transition between characters is handled with a dizzying precision, with basic shift dresses for the servants and more elaborate clothes for the major characters. But the significant drawback with this performance is that it is often difficult to hear the dialogue. The acoustic in Theatr Clwyd is normally excellent, so this was a surprise.
While this is a heartwarming comedy, the comments it makes on social equality are laudable. The show underlines the truism that in the polite society of the day, a woman’s security lay in her ability to find a handsome match with a sizeable income, and her efforts to learn embroidery, painting, singing and other social skills were all about making a good match. Failure in that quest would mean living off parents or destitute spinsterism - hence the paranoia of Mrs Bennet, with five daughters to marry off.
Among many stand-out comic moments, Lizzie being dragged across the floor to meet Mr Collins is a highlight, as was the running gag about stopping Mary from singing. Fitting, then, that her song became the finale as a tribute to usually-silent characters in this highly amusing, absorbing production of a much-loved story.
More tour and ticket info here
