As we get excited about the return of the audacious and hilarious retelling of Jane Austen’s Pride and Prejudice, we caught up with Pride & Prejudice* (*sort of) writer and director, Isobel McArthur, to give us the inside scoop before the tour opens here at Chelmsford Theatre on 11 September.
How does it feel now that Pride and Prejudice* (*sort of) is about to embark on its 4th UK tour?
I’m pinching myself. If you’d had told me in 2018 when I first stepped out to perform this show that it would still be playing now, I’d never have believed it. We began in a 220-seater theatre in the East End of Glasgow called ‘The Tron’ with the promise of a two-week run. It was a world-cup summer, the sun was out (please understand, in Glasgow, this means that a miracle had occurred) so we were convinced that everyone would pass up Austen for the pub. But, God bless that city – they turned up. And they liked it. Now it’s playing in translation world-wide, with a few awards to boot and - to our delight - returning to Chelmsford on yet another UK tour.
What themes of the original story compelled you to create this all female, hilarious, musical adaptation?
Adaptations of Austen may have made her seem po-faced - but she’s a riot! ‘Pride & Prejudice’ is full of laugh-out-loud, witty, incisive satire about the utter ridiculousness of being human. It is, without question, a Rom-Com. It suits my preferred theatrical language of live singing and instrumentation, personality-led performances, tonnes of gags, a gentle undermining of material (and self) – and total destruction of the fourth wall.
As you mention, it’s an all-female cast. Not just because we need to create more opportunities for female identifying performers to play a wider range of roles – but, yes, for thematic reasons, too. ‘Pride & Prejudice’ is, at its heart, a woman’s story. The future of the five central daughters hangs in the balance as a direct result of their gender. Without marrying, they will be destitute. The story is also set during the Napoleonic Wars, meaning a disproportionate amount of household servants at the time were women. So, once I realised that we must have servants (those who facilitated the making of art for centuries) tell the story, it was especially wonderful to also have them be women. We watch them play the roles of all their employers, including the men, in an act of doubly-transgressive triumph.
The odd (male) journalist has asked if there’s any further rationale for an all-female cast. I mean… Jane Austen was unable to publish under her own name during her lifetime because of her gender. Elizabeth Bennet is the protagonist in ‘Pride & Prejudice’ – but everyone goes on about Colin Firth. Ach, I think these things speak for themselves.
This is the show’s second visit to Chelmsford Theatre. How would you describe it to those who missed it the first time round? Who is this show for?
This is Jane Austen’s ‘Pride & Prejudice’, told by the servants, with karaoke. And beyond that, all you need to know it that it’s a laugh. I’m vehemently against theatre that requires an audience to have a degree in English Literature in order to follow it. Which is to say that the show is for everyone.
To anyone reading this who adores Austen and has read all her novels - I promise you that we are as deeply fond of this story as you are and take tremendously good care of it. To those who have been put off by the starchiness of any period drama they may have seen on stage or screen – rest assured, you won’t be waiting around for hours for something to happen, only for one elderly Aunt to raise an eyebrow. This is a compelling comic drama full of gags, songs and fast-paced multi-rolling that adores its source-text.
Do audiences need to be fans of the original story to enjoy it?
Not remotely. In fact, I’d encourage anyone who has felt put off by Austen to give this a go. I was once like you. I had never read the novel before I sat down to try and turn it into a piece of theatre – because I couldn’t be less interested in the lives of old aristocracy. But what’s so refreshing about the original Austen novels, when you get into them, is that she’s much more preoccupied with justice, absurdity, feminism, passion and wit. There’s nothing boring about her writing at all. She’s a proper radical. Sadly, various adaptations of her work over the years have stamped out much of the spirit. Or just shrouded it in petticoats. But there’s no risk of that here. No prior knowledge is required. Turn up and we’ll tell you the story.
How important are venues like Chelmsford Theatre to you and the work you create?
They’re vital. Chelmsford in particular is extremely close to my heart because when we arrive as a visiting company, we are treated as if we have come home. They always welcome us with tremendous warmth and I see that Chelmsford Theatre, uniquely, understands the tone of this work, as they demonstrate through thoughtful touches big and small in their front-of-house, marketing and general reception of the piece. We love your audiences and your staff – and we cannot wait to come back and share this celebration of theatre and Austen with you once more.
Don't miss this sensational comedy theatre as it opens here in Chelmsford this September - more info here