There’s fun and frivolity aplenty in theatre-sport version of Jane Austen’s enduring period stories

Although Jane Austen’s stories are deeply embedded in a particular time and place they have an elastic quality that lets them be all things to all people.

Along with the endless remakes of film and television adaptations, there have been recent attempts to add zombies and sea monsters to the storylines and fierce academic debates as to whether her work is realistic or satirical, conservative or revolutionary. [More]
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As I seat myself amongst a sizeable second-night crowd, which it is revealed comprises a large proportion of devoted Jane Austen lovers (determined by a show of hands as to whom has actually read her latter work Northanger Abbey), it occurs to me I have actually not only never read a novel by Jane Austen, I haven’t even seen any of the numerous film adaptations. Oddly however, I kind of feel as though I have and if nothing else I’ve seen A Room With A View a bunch of times.

Indeed, the ensuing on-the-spot manufacture and performance of a suddenly invented long lost manuscript of Jane Austen spontaneously named Greed and Generosity by means of lottery and audience nomination seems as familiar as Dickens and Twain. I won’t reveal the ingenious device for obtaining your Jane Austen name, but I can tell you that mine is Harry Cecilbottom.

Mistress of ceremonies Penelope Ashton enters first to provide a brief overview of Jane Austen’s background before introducing the rest of the cast. Kathleen Burns takes the feminine lead of Samantha Hammybottom, prudish yet insightful, the image of pure generosity. The remaining four players launch resolutely into a range of characters that manage somehow through all the absurdity and comedic leg-pulling to elicit enough sympathy to keep us involved and caring about what happens next. 

It all goes to clearly illustrate the insidious effect of the classic romance formula, which Austen is considered by many to have pioneered despite being luke-warmly received in her lifetime (it seems I know more about the woman herself than the details of her stories). The story is inevitably entirely different each night, and much of the appeal is in witnessing the players setting each other up and taking each other’s offers with seasoned skill. 

The musical numbers are an ideal and tremendously amusing means for consolidating the character’s relationships and backstories, enabled not inconsiderably by pianist Robbie Ellis, whose superlative command of eighteenth century style chamber music has the proceedings proceeding with a veritable abundance of austentatious authenticity.

So clearly, whether you’re a mere Austen-curious novice like myself or a fully confirmed Austenophile you are sure to be entertained by the precocious antics of the commendable troupe known as ConArtists, and indubitably learn a bushel of new words in the process. Like ‘necrosis’ and ‘barouche’. 

And if you really like the show you can buy the fridge magnets. Superlative! 
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It really is very exciting. 

Let me say from the outset, I’m not an Austen fan. Much to my librarian Mother’s horror I have never read her work and I’ve managed to steer clear of the film adaptations (with the exception of the dripping-wet Colin Firth scene). So ambling up the stairs to The Drake’s function room, I was sceptical.

Not for long. We were warmly welcomed by the rosy-cheeked and very-excited-for-a prim-young-lady Penny Ashton, who introduced her fellow players (Lori Dungey, Stayci Taylor, Nigel Burrows and Greg Cooper). Our Austen knowledge was tested, reluctant male audience members were charmingly reassured and we were taught how to determine our Austen names (take the first name of your favourite royal and first pet’s name with "ybottom" added to the end, e.g. Beatrice Pandybottom).

The audience choose the name and theme of the musical, Greed and Generosity, and then sat back, relaxed and laughed their way through the following hour without fear of being picked on.

There was swooning, romping, choreographed dancing, an enormous ball, garden strolls, passion (of the reserved English variety), scheming, meddling, innuendo, a tune or two on the pianoforte, and more laughter than I expected for my money (not being an Austen girl at all).

The entire cast did a magnificent job of capturing the essence of Jane Austen’s style in their parody without offending ardent fans or losing the enthusiasm of strangers to the genre. I’m fairly certain "okay" wasn’t a commonly bandied about term in the Regency Period but the troupe has certainly done their research.

Penny Ashton and Greg Cooper were stand-outs due to their command of the vernacular, their ability to take charge of a scene and think on their feet (proving Ashton is "quite bright for a girl"). Cooper in particular seemed targeted by the pianoforte player and his fitting rendition of Simon and Garfunkel’s "Cecilia" was timely and priceless.

ConArtists are consummate performers. They make improv look so easy you’ll think you could get up and give it a go. Please don’t. Leave it to the professionals – but go and check them out at The Drake. Whatever they dish up, you’re in for a treat.

Austen Found runs for two more nights – Friday 8th and Saturday 9th. They’re back next Thursday with a brand-new show. See you there! 
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