Wow it’s an opera! The opening song jolts our attention as players start to sing ‘Its Society’. The title of the musical had not given away the fact that this is not simply a play with songs, but an extravaganza of wonderful harmonic operatic voices. From the off, we are enchanted by the cast and their talents, as contraltos and tenors weave their magic. For those who do not know their opera well (me), this was an amazing introduction to its world. Brought to us as part of the Grimebourne (an obvious skit on Glyndebourne) Festival, it captivates a new audience.
I have to admit, I was wondering how on earth a play could fit all those characters and activity from Jane Austen’s masterpiece into two hours. With only six actors, some of them had to play multiple parts, but they manage to capture the distinct characters well. Mr Jeffry Haddow has pulled it off. His book hit the mark and Austen fans are not left disappointed. His lyrics ‘anxiety in society’ could be appreciated right now, but in Regency life the worry is all about who will marry these two young sisters now their father is dead and has left almost everything to their useless older half-brother.
Getting married as soon as possible is the main concern, and without any money behind them, ‘Choice no longer exists’, sings Elinor Dashwood to her mother – you cannot think to marry for love, only for money. Marriage is literally the difference between wealth, survival and poverty in the Georgian world. ‘Sense, we must have sense’, she sings, attempting to uphold the dubious morality of the day. Her younger sister, Marianne, is the ‘sensibility’ of the storyline, a young woman full of passion, but without a care to her reputation. The sisters and their mother are given a cottage by a kindly local squire and introduced to what country society exists in Devonshire. Here, three men are introduced as potential marriage material – the scoundrel, the weakling and the honourable man.
These various lovers pop in and out – the dastardly Willoughby, dashingly played by Matthew Tilley, who nearly ruins Marianne; James Beddoe as the painfully shy Edward Ferrars wins our hearts as well as Elinor’s; and the persistent Colonel Brandon played with military brio by John Faal. No less of a performance of well-defined characters are given by the two sisters, Rachel Liddell’s Elinor is a patient saint of stoicism and womanly virtue. Elinor Ledger has to be congratulated on her portray of the two opposing characters of Marianne and Lucy Steele. Alexandra Cowell managed to bounce about the stage with aplomb astutely playing various other characters. All of the cast had great powerful voices that sent shivers down my spine. Their dancing is also impressive at the ‘too many trips to the punchbowl’ parties and balls.
The songs swiftly move the action along just as they should in a musical. The music is memorable for evoking thoughts of South Pacific in the love songs and Mary Poppins in ‘Sleep Baby Sleep’ when Elinor sings to her younger sister – a good sign that a musical is hitting the right spots. It was gratifying to see the three excellent musicians on stage.
It was a great idea to think of producing a musical opera which will reach many people who never usually go to see opera, and timely to think of Austen’s book as its basis on the 250th anniversary of her birth. The audience is left gratified and uplifted by the performance in an immensely enjoyable evening. A triumph for the company!
Cast: Elinor Ledger, Rachel Liddell, Alexandra Cowell, Matthew Tilley, James Beddoe John Faal.
Director: Alexandra Cowell
Musical: Director & Piano: Guy Murgatroyd
Violin: Felicity Broome-Skelton
Violoncello: Daryl Giuliano
Music: Neal Hampton Book and lyrics: Jeffrey Haddow
Running Time: Two and half hours (inc 20 mins interval)
Performances: 19-23rd August 2025 at The Arcola: 12 &13 September, Pump Rooms, Bath