Pride and Prejudice

There’s something truly delightful about classics being revived on stage, so it was a pleasure to see NOMADS recent production of Pride and Prejudice at the Kings Theatre. In a cultural landscape invigorated by the popularity of period dramas such as Bridgerton, it’s fitting that NOMADS should take on Jane Austen’s enduring tale of manners, wit, and romance.

With a large cast of 18, it’s impossible to give individual credit to each performer, but several stood out in their portrayals.

Lydia and Kitty Bennet, played by engaging performers Ailish Collins and Elize Collins, imbued their scenes with a youthful exuberance and charm, capturing the innocence and mischievous spirit of the youngest Bennet sisters. Particularly noteworthy was the actor playing Kitty, who deftly switched between Kitty and Caroline Bingley with energy and poise, so much so it took me a while to clock that it was the same actor.

Mr Collins, embodied by Nigel Witney, provided awkward proposals and a self-importance with an appropriate comedic delivery, earning well-deserved chuckles from the audience with every appearance.

Alex Schosland’s Mr Bingley was every bit the affable gentleman, winsomely naive and thoroughly likeable. Falling for his charm, Jane Bennet, portrayed with grace and warmth by Cassandra Fisher, was convincingly the picture of quiet beauty and kindness.

Mr and Mrs Bennet, played by Steven Fenn and Anna Tuck were a dynamic duo, with Mr Bennet’s dry wit and sardonic asides expertly complemented by Mrs Bennet’s dramatic energy and comic timing. I particularly enjoyed Anna’s scenes in her sick bed catastrophising about the exploits of her children.

Elizabeth Bennet, brought to life by Freya Morrish, was captivating from start to finish. The audience couldn’t help but root for her as she navigated her initial disdain for Mr Darcy, only to gradually unveil a deeper, more complex affection. The subtlety and nuance required for this role were handled with impressive confidence, making Elizabeth both relatable and compelling.

Of course, a production of Pride and Prejudice lives and dies by its Mr Darcy, and here the performance by Eric Lampaert was a real tour de force. The actor mastered Darcy’s stoic pride and reserved nature, allowing his gradual transformation—marked by remorse and ultimately love—to emerge naturally and convincingly. It’s no small feat to make an audience simultaneously want to dislike and admire you, but Eric achieved just that, leaving everyone thoroughly won over by curtain call.

The direction and staging, courtesy of Kathryn Schosland and John Mitchell succeeded in drawing out the period’s comedy and social nuances.

The clever use of Bridgerton-style modern music arranged in a classical fashion added a fresh twist to scene changes, though the execution unfortunately faltered. Scene transitions, while inventive, were often hampered by lingering lighting fades and extended musical interludes that disrupted the pace. Blackouts were not complete as a blue light was used, revealing all behind-the-scenes activity, seeing the cast waiting for the music to fade and the lights to rise, many times between 30-45 seconds.  A sharper approach to these technical elements would have elevated the overall production and something for NOMADS to look at going forward.

Nevertheless, the cast’s chemistry and emotions shone through, seamlessly weaving together Austen’s timeless story. The narrative remained clear, the humour was evident and the emotion was palpable—particularly in the climactic proposal scene between Darcy and Elizabeth, which left this reviewer uplifted and thoroughly satisfied.

NOMADS delivered an enjoyable production of Pride and Prejudice. Despite the technical issues, the spirit and skill of the ensemble prevailed, bringing Austen’s world vividly to life. Congratulations to all involved.

© NODA CIO. All rights reserved.