I didn’t come to Jane Austen until quite late – my 30s. When I was assigned to read Pride and Prejudice in third form English I was too dumb to understand Austen’s dry wit, which was compounded by an internalised misogyny that meant I’d swallowed the line that ‘feminine’ works were light and frivolous and therefore lacking. Light, maybe, but frivolous and lacking no, and I missed out on so much: comedy, intrigue, longing, barbed quips, dances, misunderstandings, social commentary, desire, bold characterisation, family drama, wonderful women, and very many frocks.

These elements are teased out beautifully in The Court Theatre’s joyful production of Sense and Sensibility, directed and choreographed by Hillary Moulder. This sparkling (there’s a feminine word again) commission is written by Penny Ashton, whose terrific Austen- and Dickens-themed solo shows have toured extensively here and abroad over the last ten years. Those familiar with Ashton’s comic sensibility, and her love for the source material, will have an inkling of what to expect. Those who are new should buckle up. [More]

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A new adaptation of Jane Austen’s Sense and Sensibility has opened at Christchurch’s Court Theatre, but it’s more pantomime than period drama.

Austen’s novel charts the lives of four women in early 19th century England. Following the death of Henry Dashwood, his widow and three daughters are evicted from the family estate. With its barbed quips and shrewd commentary about the role and value of women in society, Austen’s work is as relevant today as it was when it was published in 1811. [More]

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Sense and Sensibility was originally published anonymously, attributed to “A Lady” in its first print run in 1811. Jane Austen’s authorship remained uncredited until after her death, when her name was added in an 1817 edition.

The Court Theatre’s production is the perfect response to Austen being under-appreciated in her lifetime; this brilliant adaptation pays homage to Austen and honours her legacy as a pioneering female voice in the patriarchal literary world. This is the first production in the Court Theatre’s history with an all female cast, playwright and director, and it’s an absolute triumph.

It is a truth universally acknowledged that Austen is one of the most significant novelists in English literature, spearheading a form of literary realism that focused on the domesticities of family life, particularly the social expectations placed upon women in the Georgian era. Her wonderfully witty wordplay, subtle satire and cleverly constructed complex sentence structure are much lauded features of her writing, but potentially problematic for anyone attempting to adapt her work for the stage.

It is difficult to compress the convoluted lives of the Dashwood sisters into a play-sized package without sacrificing parts of the plot, style or dialogue. Playwright Penny Ashton applies a modern sensibility to the source material, masterfully merging contemporary theatrical conventions with the 18th century story, capturing the sense of Austen in a show superbly suited to the demands of a 21st century audience.

The family of Dashwood had long been settled in Sussex, but death, debt and domestic duty force the family to move to more a more modest home. A shift in social standing accompanies their relocation, and we follow the three Dashwood sisters as they come of age in an age of courtship, chivalry and chauvinism. It is not everybody who shares my passion for Austen, but the themes of heartbreak, love, and loyalty are universal.

A cast of six actors embody 22 different parts in an impressive feat of versatility and skilled character work. Hilary Moulder’s casting decisions alone are worthy of applause. Emerging talent shines alongside Court Theatre luminaries and the rapport between the actors makes the ensemble work a joy to watch. Moulder’s confident handling of this complex script is a dream directorial debut.

Eilish Moran’s eternally youthful energy and appearance are evident even in her elderly widow roles. Moran’s vocal dexterity is demonstrated in her seemingly effortless perfect articulation of Austen’s challenging densely packed dialogue.

Natasha McAllister brings a delicate sweetness to Marianne Dashwood in her Court Theatre debut. Rebekah Head and Bianca Paine are both delightful in larger roles than in their previous Court Theatre performances. Kim Garret injects her Dashwoods and co with nuanced character detail and comic brilliance.

Churlish though it may be to single out a single stellar actor in such a uniformly strong cast, I simply must. Kathleen Burns, whose embodiment of four vastly different characters gives us a delightful demonstration of the depth and breadth of her acting range, simply steals the show. I would happily watch Burns interact onstage with a revolving door (outstanding door, Julian Southgate!) for two hours, but I would rather watch her baring a breastplate as the heart-stoppingly handsome Willoughby. Forget Colin Firth’s damp Darcy, Burns’ Willoughby smoulders.

Penny Ashton’s adaptation is perfection, leaning into Austen’s ever present wry humour without losing the light touch and subtlety. As a long-standing Austen devotee, I enjoyed watching Ashton’s deft reimagining of the familiar sisters and suitors. A knowledge of the novel is not a necessity, however. I attended in the company of a trio who had never read the book or seen a film version, and they found the play as entertaining and engaging as I did, with no problems understanding the plot or people. A few years ago, the Court Theatre’s main-stage season was almost entirely comprised of shows written and directed by men. Sense and Sensibility is an entertaining, empowering celebration of women, and one of the best Court Theatre shows I have seen in recent memory.

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