Jane Austen's Pride and Prejudice

Entry No. 2 in the Oregon Shakespeare Festival (OSF) 2010 Recollection Series.

May I begin this critique with praise for the set: the stage was gloriously adorned. The chandeliers, backdrops, and use of both doors and windows was overall very aesthetically pleasing. Though it's not quite as out there as 2008's Midsummer Night's Dream, also performed in the Bowmer Theatre, and not as overall engaging or impressive as the same theatre's set of Dr. Jekyll and Mr. Hyde of 2006, it was in its way delicate and very appropriate for Pride and Prejudice. I realize that I have not previously noted that the Elizabethan stage is by far my favorite (complete with live bats!), even if the Bowmer offers certain technical advantages and innovations. Now that all that's over with, moving on.

I must give credit where it is due to the propsmaster (or perhaps the director) for the maintenance and use of an actual harpsichord. I have not as of yet had the pleasure of playing an harpsichord, but in my understanding they are famously finnicky instruments, especially in the realm of keeping it tuned.

Also in the realm of music, the show opened with a lovely rendition of O Mistress Mine arranged for soprano voice, while it appeared the previously in Twelfth Night as sung by Feste. Another common trend between these first two productions is that Twelfth Night was set before the French Revolution, Pride and Prejudice (as per usual) after it. I thought it appropriate, but I digress.

I think my only real criticism for this rendition is the portrayal of Elizabeth. Though I fully understand that part of the point of the story is that both Darcy and Elizabeth are proud and conceited, this production, in my mind, over-emphasized Elizabeth's pride, so much so that it overshadowed Darcy's. It seemed almost incongruous for the Bennets to criticize his arrogance when Elizabeth's rivaled his so well. However, in the end it opened up more interplay for Darcy and Elizabeth, and upon the advent of the second act, everything I thought to criticize in the first act improved. In fact, the whole production turned positively squee-worthy after the first half was over and done with. But again, I digress.

The costumes throughout were marvelous. I have always been keen on Empire sensibilities, and this production was no exception. After seeing the production I was determined not only to watch the ever-beloved BBC miniseries with Colin Ferrel, I was about ready to break out the sewing machine.

What has struck me as truly exquisite so far this season is the blocking and timing. In both shows thus far, there have been moments - the slightest of gestures - that add the perfect touch, whether it be of comedy or heartbreak, to the scene.

I realize I have not touched upon the performances of the other actors. John Tufts as Wickham was marvelous. Though I would have liked to see him as Bingley or even (I confess) Mr. Darcy, he played the universally sleazy Mr. Wickham wonderfully. Darcy was fabulous. Elijah Alexander put a touch of enjoyable quirk into his mannerisms, especially in the second act, and Christian Barillas' Bingley was appropriately adorable. All the Bennets were great, but Mr. Collins was more than worth a mention. James Newcomb played the creepiest creeper I've seen in a while and his vocal tics were terrifying. All in all, a beautiful cast.

Ah, and as a parting shot: they put in a bit of a spoof at the very beginning. Before the show technically began the cast came out to mill about on the stage as though at a party. When the god mic came on to tell us all to silence our cell phones, etc, Kitty and Lydia screamed and then promptly chattered to each other trying to figure out what it was: they were the only characters able to hear it. Nice touch, if you ask me.