It is a truth universally acknowledged that a single play at the Genesian Theatre in possession of an effective adaptation and colourful characterisations must be wedded to patronage and applause.

PRIDE AND PREJUDICE is well cast and costumed in the staging of this adaptation by Simon Reade. The version preserves many key conversational exchanges and social confrontations from the novel across two acts and eighteen scenes.

The contrasts in setting between the Bennett household with its five unmarried daughters and the salons or grounds of the upper classes from the city are well delineated in this production. Use of detailed props, costuming and sound design with fine choice of piano music creates a very good sense of environment and evocation of the time period.

Such detail though does come at a cost to the flow of the play. Demanding set changes between some scenes where we wait for the complete furniture to be reset on a darkened stage repeatedly add to the non-scripted running time of the event.

Once commenced, however, the action of each scene’s Austen-vignette is engaging and well–paced. Those familiar with the novel or discovering its intricacies for the first time will enjoy how the characters from different backgrounds are so truly recreated and pitted against each other in their hope for happiness and matrimony.

From the typical amusements of the society emerges Elizabeth Bennett, mouthpiece of Jane Austen, eloquently and smoothly delivering some very challenging mouthfuls of retort. Jena Napoletano’s controlled depiction of this character and quantity of text is to be admired. It contains the essential inspiration to young women or men dealing with society and difference in any era.

Director Owen Gamblett has nicely outlined from a very early stage several subtleties of the clashes and confused infatuation between Elizabeth Bennett and Fitzwilliam Darcy. Chris James’ Darcy is a direct fellow with much complexity brimming beneath his furrowed and titled brow. His awkward understatement and silences in dealing with the fascinating Miss Eliza and effusive Caroline Bingley make for some great moments.

The ensemble cast work very cohesively. They create the desired mood, present period dance when needed and reveal the contrasts beneath society’s surface. They entertain with a display of the various degrees of pride and prejudice all characters exhibit in the networks which made up this classic tale.

To be thoroughly enjoyed are the larger than life commentaries of Camilla Vernon’s expertly animated Caroline Bingley and the caricature of statuesque establishment bitchiness drawn by Sandra Bass’ Lady Catherine de Bourgh. Both are very suitably costumed and coiffed, exquisitely emphasizing their status and complaints.

The frivolities of the youngest Bennett girls, Kitty and Lydia, are blurted out beautifully by Aimee Lodge and Nicole Stern, shifting the tensions and focus points well in several scenes. Their didactic sister Mary is thankfully not forgotten in this stage version and is suitably deadpan throughout thanks to a well-timed delivery by Heather Bennie.

Their long-suffering father is played closely to the typical Austen model by Timothy Bennett. Shane Bates’ Mrs Bennett displays in inimitable wig and millinery and reaction all that was needed to contrast her character to absolutely everyone.

By attending this latest charming event at the Genesian Theatre you will be part of the 70th Anniversary Season for this Sydney institution. There is much to savour in the scenes charmingly presented here. Come along and have a ball!

For more about Pride and Prejudice, visit http://www.genesiantheatre.com.au