Jane Austen's Persuasion: A New Musical Drama

Jane Austen’s Persuasion: A New Musical Drama

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Though Jane Austen is undoubtedly one of Britain’s most prominent literary names, Persuasion is perhaps her least widely-read work. Published posthumously, the novel furthers Austen’s biting satire and thematic development of gentrified society, love, and constancy which are also such features of its partner Northanger Abbey. It tells of Anne Elliot, her history of broken love and her hopes of reconciliation with Captain Wentworth.

This original production, by Barbara Landis, debuted in Chicago with the same company in 2010 and retains several of the original cast members. One of the most striking observations for Austen fans (in a festival featuring further spin-offs and adaptations of the writer’s novels) is Landis’ commitment to retaining much original dialogue which is complemented superbly by Austen’s favourite music and luxurious costumes.

Opulence is established immediately with the stage washed in purple as a perfect accompaniment to the chandeliers and carvings which are aptly provided by the Music Hall at The Assembly Rooms. From the outset we revel in the childish overindulges of John B. Boss’s Sir Walter Elliot who steals the opening with his boundless energy and expression. In this number, the musical credentials of the company are confirmed as there is perfect synchronicity between cast and impressive chamber orchestra – the virtuosity of the musicians from time to time showcased during quieter onstage moments. The dexterity of pianist Anatoliy Torchinskiy is particularly apparent during his rendition of Haydn’s Piano Sonata in D Major.

There are a great many highlights to this preview performance – not least the rousing sailor songs which confirm the vocal talents of the entire company and treat us to Irish tap routines of the highest order! Particular mention should go to Anne Marie Lewis for her constantly reacting and vibrant Mary, to Kristin Johnston and Sarah Kropski for their endearingly giggly and flirtatious Louisa and Henrietta Musgrove and to Simon Kyung Lee for a couple of simply sumptuous song-bursts!

The telling of the story, in addition to the device of Austen as narrator, is aided by means of absorbing projections which transport us from the noble Kellynch Hall to Bath via the seaside at Lyme. Certainly, in terms of aesthetic, this production ticks every box.

As with the novel, the ultimate success of the piece relies upon our investment with the character of Anne and on our concerns for her eventual happiness. In this area, unfortunately, tonight’s performance suffered. The character lacked the delicacy and selflessness which a reading of the novel suggests. She lacked the vulnerability of a young woman who is still essentially mothered and nurtured by Lady Russell and all too often there was little real distinction between the twenty-seven year old Anne and the forty-one year old Austen who formed the second half of this dual role. Of course, artistic interpretation is to be welcomed, but it may be hoped that the character is softened during the run in order to add more emotional connection to the technical excellence of the production.