Pride and Prejudice, arguably Jane Austen’s most famous novel, has been the subject of countless adaptations. There is the 2005 film with Keira Knightley, the modern-day retelling in Bridget Jones’ Diary, the cultural reinterpretation with Bride and Prejudice, and who could forget the incredible masterpiece that was Pride and Prejudice and Zombies.
However, there is one adaptation that continues to remain an eternal classic, the 1995 British television series starring Jennifer Ehle and Colin Firth in the leading roles of Elizabeth Bennet and Mr. Darcy. This series, adapted by Andrew Davies, was not the first visual interpretation of the Austen classic, but has long since been held up as the benchmark against which all others are measured.
Fitting then that Pride and Prejudice: an adaptation in words and music at the Sydney Opera House, would use this version as their inspiration. Evoking the atmosphere of a Regency-era drawing room, the first half of the production introduced the audience to the musical score of the 1995 adaptation. Brought to life by the incredible violinist Madeleine Easton and internationally acclaimed concert pianist Melvyn Tan, composer Carl Davis’ now iconic music transports you back to a time of balls and etiquette, where the most important thing for a woman was that she marry well.
During this first half Easton set the scene and elaborated on the world in which Austen lived. It was a time when women could not be novelists, and so Austen published her works anonymously. Indeed, women had few to no rights, and through her work Austen can be seen deconstructing society’s “rules” and hypocrisies, but always under the guise of wit and charm.
We discover that public readings, like the one we are about to experience, were common in Austen’s time. It is not outside the realm of possibility that the author herself sat around a fireplace, reading Pride and Prejudice to an eager crowd. And in the second half of the evening, we did just that.
The very talented Nadine Garner performed a dramatic reading with musical accompaniment. The combination of the well-crafted text intersected with the emotive music was pure delight. In particular, Garner’s interpretation of the proposal scene between Mr. Collins and Elizabeth was utterly hilarious. It is no small task to take on all the characters in such a well known novel, but Garner is flawless as she seamlessly moves about the world Austen has created.
Directed by Tyran Parke and adapted for stage by Gill Hornby, Pride and Prejudice was addictively entertaining. The moment Tan began to play those first chords of the opening title sequence, I was instantly transported back to being 16, sitting in my friend’s lounge room, watching Pride and Prejudice for the first time on VHS tape (yes, I’m old). That’s the power that music and words hold. More than 200 years since it was first published, that’s the power this story still holds.
Pride and Prejudice: an adaptation in words and music, was the perfect tribute not only to the talents of composer Carl Davis and the 1995 adaptation, but most importantly to an author who continues to entertain and enchant in ways she could never have imagined.
FIVE STARS (OUT OF FIVE)
Pride and Prejudice will perform at the Sydney Opera House until 1 September 2024 before heading to the Arts Centre Melbourne, September 27 – October 6 2024.
For more information and to buy tickets head to the Sydney Opera House website.
Reviewer attended on August 15 2024.
Photography by Robert Catto
