A
couple of seasons ago, Jon Jory brought his adaptation of Pride and
Prejudice to Actor’s Theatre. It was a
powerful and dynamic version of the famous story, a whirlwind of action
settling into forthright narrative that kept a startling amount of the story
without burdening the audience with an overlong running time. It was a model of
how to adapt classic literature for the stage.
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| Helen Sadler and Alex Podulke in ATL's "Sense & Sensibility" Photo by Alan Simons |
Now
the former ATL Artistic Director has turned his formidable skills to yet
another adaptation of a Jane Austen novel, Sense and Sensibility. He begins at a more measured pace than his Pride
adaptation, but he still enters the
narrative forcefully and with certain purpose, wasting no time in establishing
characters and relationships. We meet the Dashwood sisters, Elinor (Nancy
Lemenager) and Marianne (Helen Sadler), who, after the death of their father,
are cast out of the home they share with their mother and younger sister,
Margaret (a character referred to, never seen on stage, and hardly missed). As
they settle into a simpler life in a country cottage, various persons enter
their lives, including potential suitors Edward Ferrars (Geoff Rice), Colonel
Brandon (Alex Podulke) and Willoughby (Justin Blanchard).
This
being Jane Austen, the end is never in doubt, but there is great fun to be had
in the journey. Thomas Burch’s marvelously airy set design provides an ample
space suggestive of both the period and the emotional dynamics of the story,
while Brian J. Lilienthal lights the broad backdrop and spare but elegant
furnishings in ravishing colors that seal the deal in great style. All of the
design work follows function, since the space is necessary to accommodate Mr.
Jory’s rapid transitions, which often have actors simply turning from one light
to another to begin a new scene.
Still,
as the second act unfolds, there is a period where one can feel the wheels of
the narrative become ever so slightly stuck in the mud, and the quicksilver
staging struggles to muddle through necessary yet burdensome exposition. The
journey gets back on track in time to make the inevitable happy ending seem
hard won and therefore well-deserved for both the characters on staged and the
audience.
The
expert cast gracefully navigates the complexities of the plot to realize the
warmth and humor of the characters, with nary a false note among them, but the
wonderful Helen Sadler stood out as Marianne, the younger, more impetuous
sister who suffers perhaps the more deeply felt troubles in the story. Nancy Lemenager
also did an excellent job making Elinor’s hidden heartbreak a palpable presence
in the theatre. David Pichette was a delightfully funny Sir John Middleton,
while Wendy Robie and Penny Slusher responded to Mr. Jory’s embrace of the
eccentric but humorous matriarchal figures found in Austen with fine comedic
performances. It was also a treat to see local favorite Colette Delaney deliver
the goods as the snooty Lady Middleton.
On
paper it may seem easy to dismiss Sense and Sensibility as predictable, romantic comedy, but the truth is
that romantic comedy (and make no mistake, Jane Austen created the basic
narrative structure that modern-day romantic comedies still follow) is always
welcome when it is done this well. When this production closes with some
singularly effective romantic imagery, offset with a few last comedic grace
notes from Ms. Robie and Ms. Slusher, only the most cynical and hard-crusted of
curmudgeons would dare to complain. The rest of us will unabashedly relish the
swoon and passion on display with a deep sigh of gratification.
"Sense and Sensibility" continues through September 24 in the Pamela Brown Auditorium. To get your tickets call 502.584.1205 or go to www.ActorsTheatre.org.
Entire contents are copyright © 2011 Keith Waits. All rights reserved
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