Gentle Reader, “Sense and Sensibility”, Jane Austen’s first novel, was initially in epistolary form, where action takes place in written postal letters. She was 19. When she was 21, she adapted it to its narrative form as we know it today. Austen has long been a popular favorite with readers, and many of her novels have graced both stage and screen. While “Bridgerton” has put the Regency period on the map for 21st century denizens, Jessica Swale’s adaptation directed by Nisi Sturgis may well put it in the hearts of those same viewers. If Ms. Sturgis name sounds familiar, she was Jane Bennet in Artistic Director Emerita Bonnie Monte’s adaptation of “Pride and Prejudice” a while back at Shakespeare Theater of New Jersey, and this production is both modern and classic.
Several favorite players from STNJ’s company are in evidence – Patrick Toon is a man of many (and sometimes no) wigs as he plays the Dashwood sisters’ half brother and four other characters, while Christian Frost is the antihero Willoughby and more. Mr. Frost is dashing and dastardly at once. As the rake progresses, his growth as a person, as well as his regret, arrive just a bit too late. Sean Mahan as Colonel Brandon is dourly delicious. The luminous Billie Wyatt as Marianne Dashwood provides a masterclass in the many faces of an actor with moods and thoughts moving as quickly as clouds on a blue summer sky. Kayla Ryan Walsh makes magic with two very disparate characters – the greedy Fanny Dashwood and the ebulliently hardy Mrs. Jennings. Newcomers to the company like Mandi Masden as Elinor seems truly like Marianne’s sister and Mrs. Dashwood, Lynette R. Freeman, was the Regency model as the girls’ mother. Ms. Freeman also has a merry romp as the expectant Mrs. Palmer, then Willoughby’s heiress Ms. Gray. Terra Chaney was by turns Margaret, the youngest Dashwood daughter, and prototype Mean Girl Lucy Steele. Austen may have meant “steal” as a homophone as well, considering Ms. Steel’s scheming and Ms. Chaney plays both Margaret and Lucy to a fare-thee-well. Patrick Andrew Jones gives reluctant hero Edward Ferrars a range of facial expressions that are extremely evocative and brings a supremely subtle reserve to the benighted Mr. Palmer.
Ms. Sturgis’ direction deftly illuminates the mighty yet delicate gossamer bonds of love among the Dashwoods, as well as the sisterhood among women. Male privilege in Regency England was familiar to all at that time, and one needed to be wily and clever to navigate its shoals. Austen’s tale is layered and nuanced. Ultimately, we find that men of quality are not threatened by women of equality, and the denouement is somewhat satisfying.
Jessica Swale’s adaptation is quite long. Considering the first edition of the novel was three volumes, that is no surprise. Brittany Vasta’s extremely versatile set with Anthony Galaska’s lighting design help us keep different areas of houses, and the houses themselves, in order. The cast is versatile as well, with only Colonel Brandon and the elder Dashwood Sisters in singular roles. The Colonel, gentleman that he is, did assist with scene changes. Sophie S. Schneider’s costumes are delightful and provide an appropriate sense of character, so useful in helping delineate the chameleon-like role changes. At first, the multiple roles are a bit difficult to keep up with, then become a rich tapestry of who would become whom next. Be prepared to keep an active mind when you go. The interactions, frictive and clever, are what remain with me. I continue to turn the moments over and over, like gems.
Visit https://www.shakespearenj.org/events/detail/sense-and-sensibility now. This show is done September 22 and tickets now mean you have your best choice of dates.