Pride & Prejudice — an Austentatious and delightful adaptation

Ever since it first hit the book shelves in 1813, Jane Austen’s seminal novel, Pride and Prejudice, has been referenced, retold, and reimagined in every conceivable way. And yet…this new adaptation by Gill Hornby, produced by Spiritworks & Theatre Tours International, is fresh, inventive, unique and surprising. 

It helps that Pride & Prejudice: An Adaptation in Words and Music is performed by three of the most extraordinary talents you’d ever hope to see together on stage: pianist Melvyn Tan, violinist Madeleine Easton, and actor Nadine Garner. It is pure synergy. 

Tan was born in Singapore and educated at the most presitigious musical schools in England from the age of 12. He is recognised around the world, not only for his technical skill on the keyboard, but for his intelligent, emotional interpretations. As a aficionado of early keyboard instruments, Tan brings a certain authenticity to his performance in this show. 

Easton is a venerated Australian musician who has spent many years working with the Royal Academy of Music in London and founded the Bach Akademie Australia. The ecstasy she experiences when playing her 1682 Giovanni Grancino violin is palpable. Easton is a exuberant presenter who spreads knowledge and joy in equal measure when she presents musical factoids in delicious, easily consummable morsels. 

Garner emerged as a teen TV star during the 1980s and has gone on to forge a glowing career in television, film and theatre. Along the way, she has collected accolades and awards and won herself respect around the globe from industry and fans. 

This experience of Pride & Prejudice — and it is an experience — begins with the wonderful set design by Mikailah Looker. Made to resemble a Regency era drawing room, the clever, parred down set features a grand piano, a period sofa, a small desk and chair, a mock fireplace and doorway with stark white frames, and several hanging paintings and empty picture frames. It instantly creates an ambience that not only evokes the era, but sets the relaxed, intimate tone. 

The show is split into two acts. Act 1 is a sort of chamber performance in which Tan and Easton present a program of short musical works tied to Pride & Prejudice. Between each piece, Easton explains the relevance of the music; in some cases it is a piece by Mozart, Beethoven, or Schubert that might have been peformed at the time. In other cases, it is music by legendary film and television composer, Carl Davis, who wrote the score to the BBC adaptation of Pride & Prejudice, among many, many others. (Incidently, the piano on the soundtrack for the BBC Pride & Prejudice was played by Melvyn Tan.)

Easton and Tan return in Act 2, but are joined on stage by Nadine Garner, dressed ambiguously in traditionally male garments of the era and a long, soft-grey velvet coat. She holds a large book from which she reads and abridged version of the famous novel. Actually, “reads” is not the right description: she delivers with magnificent flourish, comic delicacy, brilliant nuance.

Garner is radiant on stage. Captivating from start to finish. And she works in perfect harmony (pun intended) with Easton and Tan, who play accompaniment to the performance that is a mix of melodramatic underscore, foley, and poetic punctuation. 

This is an absolutely gorgeous rendering of an inventive idea and it is a pure delight. See it. 

Until September 1

Playhouse, Sydney Opera House, Bennelong Point

www.sydneyoperahouse.com