romance – Review Wizard

With little prior knowledge of Pride and Prejudice (sorry literacy fans, it’s on my ‘to read’ list!) I went to York Theatre Royal to see this parody show by Isobel McArthur…

Cleaning Up Their Act

As the audience enter, maids in period smocks are busily dusting and polishing the auditorium. We soon learn that servants are behind every great love story, and that it will be this motley quintet who down sponges and don frocks to retell the classic tale.

There’s no scrubbing away the foreshadowing though, cleaning products feature heavily in increasingly inventive ways. A squirt of rain here, a mist of Febreze there…and a bird in flight that’s well worth getting in a flap over! We were reminded at points of The Handlebards take on Shakespeare, with (bicycle) bells on.

Each of the five female performers are perfectly cast in their primary roles, and often swap costumes (and genders) to play others. They all show impeccable comic timing, versatility and some great vocals.

Susie Barrett’s Mary gets some of the biggest laughs of the night, and we’re all willing her to finally have her moment to sing. Barrett also plays straight-laced cousin Mr Collins, and the flighty youngest sister Lydia.

Rhianna McGreevy is both Mrs Bennett and Mr Darcy, perhaps two of the most contrasting roles. Facing the prospect of total destitution if she can’t marry her daughters off, McGreevy plays Mum with high dramatics. This reviewer couldn’t help thinking she’d make a great Nancy in Oliver. Socially awkward Mr Darcy is honed to perfection too.

Emma Rose Creaner’s Charles Bingley is charmingly awkward as he tries to woo Jane. Creaner also plays Charles’ bitchy sister Caroline Bingley and Elizabeth’s best friend Charlotte.

Christine Steel plays Jane, George Wickham and Lady De Bourgh. Her Lady De Bourgh is a highlight. Waspish, sharp-tonged…and oh-so-extravagantly dressed!

Naomi Preston Low plays Elizabeth Bennett, the ‘obstinate headstrong girl’ who isn’t afraid to speak her mind and follow her heart. Low embodies Elizabeth’s fiery nature, and plays the rebellious teenager with a real believability.

Look out for Mr Bennett’s appearances too, a running gag that that sits well with the audience!

Pringles and Prejudice

Published in 1814, here Pride and Prejudice is brought bang up-to-date with everything from Pringles, Vienetta and Kellogg’s Frosties. The language is certainly as colourful as the food too – a kids show this ain’t! The language feels relevant though, and is the modern equivalent of the feelings of the time. There are nods to the films and TV versions, in particular the iconic lake scene which is omitted but cleverly referenced.

Songs add an extra element, and the music is an eclectic mix throughout. Expect Bonnie Tyler, Roy Orbison and even Chris De Burgh. Carly’s Simon’s You’re So Vain is an inspired choice, when belted at Mr Darcy by frustrated Elizabeth. Whilst most of these are backing tracks, live music also hits all the right notes. Piano, guitar, recorder, tambourine, maracas and glockenspiel all delight.

Tiers of Laughter

Ana Ines Jabares-Pita’s set design effectively captures the essence of the period. A grand staircase towers over the sumptuous state rooms, towering treats, breakaway props and even a horse. Like it? Neigh, we loved it!

The action is delightfully daft and full of laugh-out-loud moments and some impressive quick changes. It’s not all fluff and nonsense though, there is real a heart and depth to the show too. The timeless love story remains, and there’s plenty of girl power and bashing of the male patriarchy.

Do you need to know the source material? I’d say not. Mrs Wizard had a deeper appreciation for the show as she’s a big fan, but I went only knowing the bare bones and found it truly…Austen-tacious!

We’d had our fair share of farce, and seen many parody shows which were starting to feel formulaic and tired. Pride & Prejudice* (*sort of) breathes new life into old text though, and is genuinely fresh and inventive. The team should take great Pride in what they’ve achieved.

Farcical fun, witty dialogue and the best literacy-based bin pun I’ve seen in a long time. Rubbish? Hardly.

Pride & Prejudice* (*sort of) runs at York Theatre Royal until Saturday 9th November.

Book at www.yorktheatreroyal.co.uk/show/pride-and-prejudice-sort-of/

Disclaimer: Tickets were kindly provided for this performance, however all opinions are honest and are our own.

Last night we went to see Tess at York Theatre Royal, with the classic novel adapted with circus skills and physical theatre by Ockhams Razor.

A Little Horse-Play

In truth, I didn’t know the story of Tess of the D’urbervilles. Suffice to say, it’s not an uplifting and heart-warming tale. The story follows 16-year-old Tess as she strives to help her impoverished family, and looks at the struggles and harsh life-lessons she encounters along the way, from the men and society who treat her so poorly.

The performers draw out the humanity of the characters through their physical performance. They make every movement seem effortless, displaying immense strength, focus and a real synergy with each other. Actors leap, tumble and twirl with ease – and manipulate planks of all shapes and sizes to create the ever-changing set.

Especially impressive is the structure of a house, slotted together before our eyes then lifted in one gigantic piece – and instantly strong enough for the actors to scale up and down. Set designer Tina Bicat works a special kind of magic.

Milking It

Although the source material is bleak – and the performance doesn’t shy away from this – there are a surprising number of lighter moments throughout the show too. A highlight is a sequence with maids milking cows. Shall I tell you how it’s done? Pull the udder one!

Joshua Frazer’s skills with a golden hoop are truly breath-taking too, skilfully manipulating it to spin inside it or send it whirling around the stage. It’s accompanied by a haunting sound, and the sound design throughout is first rate.

At points the music is subtle and understated, and barely heard over the slight squeaking of shoes and gently-landed thuds. Elsewhere it is brash and dramatic, punctuating the darker moments with severe crashes and gut-wrenching screeches. In an ideal world I would’ve preferred this played on live instruments rather than recorded, but I appreciate this isn’t always feasible.

On the subject of sound, in such a physical piece Hanora Kamen is only amplified by floor mics. This does unfortunately mean that, despite a stellar performance, she can be difficult to hear at points – even from the first few rows of the Dress Circle.

I would normally mention other performers by name, however this is such an ensemble piece that the whole cast almost work as one. All are incredible.

Circus of Horrors

The circus elements never feel twee or shoehorned in, they lift this unhappy tale and add a fresh and modern twist. This style of interpretative movement-based theatre won’t be everyone’s cup of tea but it’s a powerful form of storytelling and has the audience gripped here.

There is some particularly unsettling physicality in parts which made me feel uncomfortable – but that is absolutely the point. The inner turmoil of Tess’ experience shown so starkly through physical movement is inspired, and invites the audience to really immerse themselves in the performance.

Bold, inventive and beautifully realised.

MAGIC RATING