‘Pride & Prejudice* (*Sort Of) an affectionate, faithful re-telling of Jane Austen’s iconic novel – only, told by the servants, with karaoke.’
There are some shows with modest beginnings that seem to have all of the industry behind them, willing them to succeed. Pride & Prejudice* (*sort of) is one of them.
Every so often a little show comes along pretty much unheralded and without star casting that strikes a chord with audiences and critics alike, and ends up sticking around in the West End for years.
As five conspiratorial servants potter around the stage before the show proper, we know this is going to be no typical Jane Austen adaptation. This is Pride and Prejudice as you never knew it.
Universally acknowledged to be a hoot! It had to happen: someone had to notice that in the comfortable upper-middle and aristocratic worlds of Jane Austen’s novel, nothing could happen without the servants.
Scottish hit Pride & Prejudice* (*sort of), written by Isobel McArthur after Jane Austen, will transfer to the West End’s Criterion Theatre for an open-ended run, previewing from 15 October and opening on 2 November 2021.
Pitlochry Festival Theatre and the Royal Lyceum Theatre Edinburgh in association with Naked Productions have announced the casts for its three forthcoming Sound Stage plays.
Pride and Prejudice* (*sort of) complements Jane Austen’s work and maintains the ethos of what she did so well – which was to observe and give sharp and accurate social commentary.
Much like Six, that pushes King Henry to the sidelines to place the spotlight on his long-suffering wives, here the Bennett sisters get to take complete ownership of the stage and the story they tell in Pride and Prejudice* (*Sort Of).
Old and new collide in Wendy & Peter Pan, a beautifully staged Lyceum Christmas production that combines originality with fidelity to the spirit of a much-loved classic.
Visually and verbally intoxicating, Cyrano de Bergerac at the Lyceum, Edinburgh is a riotous, joyous expression of the human spirit.
There is a freshness and infectious enthusiasm to Daphne Oram’s Wonderful World of Sound. This, allied to a magnetic central performance, overcomes oddities in the script and staging to create a thoroughly pleasing whole.
Ol’ Bignose is back:
Edwin Morgan’s celebrated Scottish translation of Cyrano de Bergerac was given a one-off revival at the Book Festival.