Persuasion

This masterly adaptation of Jane Austen’s final novel, written by Dorchester Drama alumnus Jo Bradley, was skilfully interpreted by Directors Monica Hunt and Fran Sansom.  Set chiefly in Lyme Regis and Bath, this most appropriate play for Austen’s 250th anniversary year was staged almost on the birthdate itself.  Directed with a light touch, the full force of Austen’s wit sparkles through the production.

With some well-chosen backdrops via projection, a minimum of furniture (chiefly painted blocks), simple, tasteful props (barely more than a letter, ink-pot and quill), and with appropriate historical costume and a nod to hairstyles of the day, the characters and text shone through.  Sound effects, lighting and music added depth and context.

The Elliots appear as a loathsome bunch: sister Elizabeth, with her fidgety feet, was always either nasty or sulky, seeing everything as an insult to herself or to her father’s dignity, which was paramount.

Sir Walter was pompous, self-opinionated, constantly outraged, goggle-eyed, fatuous – in fact, excellent, being both irritating and ridiculous in his pomposity.  There were times when we feared for his blood pressure.

What a family they were.  Mrs Clay and Elizabeth made a venomous pair, strongly reminiscent of the Ugly Sisters. Elizabeth was clearly a spoiled brat, Daddy’s favourite; Mary the desperate attention-seeker, always feigning illness – her fainting at the harbour wall was hilarious in its fakery; Mrs Clay was convincingly the dubious hanger-on, an opportunist pursuing the Elliot title and fortune.  Mr Elliot was revoltingly oily and rather creepy; his snide remarks to Wentworth were certainly meant to hit home.

The constant Anne was pretty, intelligent and an excellent actor: speaking clearly and with telling facial expression she gave a cleverly nuanced performance. Captain Wentworth was played as being more sensitive than is often portrayed and they made a convincing couple.

Harville gave a good performance, showing empathy and a warm understanding of his friend’s predicament – a touching kind of male friendship.  Admiral and Mrs Croft, played well, made a kindly couple. Charles Musgrove was clearly frustrated at Mary’s hypochondria. 

Louisa was as skittish as can be, as the exuberant just-out-of-school girl, who soon marries the amusingly intense and introspective Benwick.

Lady Russell began in frosty, controlling mode and thawed with time, becoming increasingly believable as Anne’s kind and caring guardian.

Mary was particularly outstanding as an actor who understands comedy and timing, which was, in fact a strength of this company as a whole.

The dance was a lovely touch: light, appropriate and well-performed, led by the dance ensemble to create just the right impression of the Assembly Rooms.

This was an uncluttered production, which allowed Austen’s work to shine.  The simplicity of the staging only added to the impact of the production; costume clearly reflected the modes of the time and had been sourced with care from people who know about historical costume.

In the spirit of the original, this production brought out the humour, frustration, pathos and wit of Austen’s work: a sparkling production, which the author herself might well have enjoyed.

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