The beloved drama comes alive in a night of boundless laughter, intense face-offs, and pop music!

The Acting Class of 2027 at Columbia’s School of the Arts electrified the intimate environment of The Theatre at Schapiro on Saturday, February 28th, with their 8 pm showing of Pride and Prejudice. Adapted from Jane Austen’s novel of the same name by playwright Kate Hamill, this new production from director Molly Rose Heller (CC ‘15, JTS ‘15) stayed true to the classic topics within its title, while also delivering a refreshingly silly approach to the book’s focus on familial and social dynamics, wealth, and love. 

The original Pride and Prejudice follows the Bennet family’s second eldest daughter, Elizabeth, as she and her sisters deal with the societal pressure to get married. She meets the aloof Mr. Darcy, who initially insults her, and she develops a disdain for him. The Bennets also meet Mr. Bingley, who is a friend of Mr. Darcy, and takes an interest in the eldest Bennet sister, Jane. As Elizabeth continues to interact with Mr. Darcy and is informed by a militia officer named Mr. Wickham of Mr. Darcy’s wrongdoings, she continues to develop prejudices against him that cause her to reject his proposal. However, Elizabeth eventually receives a letter from Mr. Darcy that exposes Mr. Wickham for his lies and demonstrates Mr. Darcy’s efforts to protect the Bennet family’s reputation. In the end, Mr. Darcy and Elizabeth become engaged, overcoming their initial biases towards one another.

This story takes place in the Regency era, and the characters’ costumes, designed by Brynne Oster-Bainnson, were reminiscent of that era’s natural silhouettes and Empire waistlines, while featuring new elements that aligned with each character’s personality. A couple of members of the cast sported fun sunglasses, while Lydia, played by Joy Callwood, wore a glimmering pink headband, and Mary, played by Robert Bunn, sported black fishnet sleeves and a strong side bang. These creative costume choices were one of the most amusing ways in which we could see the boldness of this fresh adaptation take form.

The set, however, kept to a minimalist approach, featuring brown lattice panels adorned with vines and a large turf that spanned across the stage. Created by Scenic Designer Sarah Karl, this simple but elegant design left room for the novel elements of this show to shine. Additionally, the lighting design by Lauren Nychelle changed fluidly throughout each scene, moving from spotlights to exciting purple hues and disco. Whether during a dance break or characters squaring up to fight, the show’s willingness to experiment with unconventional coloring and reflective elements made the performance feel much like a party.

This adaptation found a way to tastefully clarify the parts of the novel that are shown but unsaid, such as societal rules to avoid gossip and improper behavior in public spaces. That being said, some characters found a way to leave nothing unsaid. Sean Sekino gave a standout performance as Mrs. Bennet, who was her most outrageous version of herself; she hollered and shrieked frequently and threw herself onto Mr. Bennet, played by Eric Flores, which elicited much discomfort from their daughters. Even the audience erupted with excitement when Mr. and Mrs. Bennet shared a passionate kiss! Every word Mrs. Bennet spoke was exceptionally inappropriate for the time and place, which is precisely the ridiculousness that her character calls for.

Though the audience’s laughter hardly ceased, some moments preserved the sincerity of the original story. I enjoyed the first intense proposal scene between Lizzy and Mr. Darcy in the rain, in which she sternly rejects him. Kim and Collins’ performances were particularly poignant as Lizzy denied Mr. Darcy’s proposal before his knee could hit the floor. I also appreciated the nods to some of the most essential quotes of Austen’s story, particularly when Elaine Jiwon Kim, as Elizabeth “Lizzy” Bennet, quoted the opening line of the book within the first act. “It is a truth universally acknowledged, that a single man in possession of a good fortune must be in want of a wife,” she said in the headstrong tone of Lizzy that so many of Austen’s readers have grown to love. As a long-time fan of Austen myself, I found Kim’s portrayal remarkably in line with how Austen describes Lizzy’s independent nature and cynical outlook on society and men, while still displaying the playful spirit she exhibits around her sisters. 

The chemistry between Lizzy and Mr. Darcy, played by Carl Collins, felt very natural, and I was glad to see that they did not stray from the competitive tension that is part of what makes their story so appealing. Their banter was consistent, but transformed with the addition of an actual boxing scene to spotlight their enemies-to-lovers trope. Even so, it was impossible to ignore Mr. Darcy’s yearning stares from across the stage. At the Netherfield Ball, a largely anticipated social event where Lizzy and Mr. Darcy first meet, both characters say, “I hate this kind of event,” a notable detail in the script that drew attention to the underlying similarities between Lizzy and Mr. Darcy.

These emotional moments, which were more prevalent in act two, consistently circled back to the show’s satirical tone with the intrusion of more hysterical interruptions—musical performances by Mr. Collins (also played by Lance Avery Brown), the clergyman cousin of the Bennets who ends up marrying Lizzy’s best friend, Mary lighting a cigarette on stage, the drunk burping from Miss Caroline Bingley (Aaron Michael Tyler), the sister of Mr. Charles Bingley, and Mr. Bennet’s threatening to shoot Mr. Wickham, the manipulative officer whom Lydia scandalously elopes with, to name a few.

Although the Bennet sisters play a typically supportive role to Elizabeth’s lead, they found their own ways of delighting the audience. Jane, played by Libby Williams, was her usual poised self, a picture of grace and the pride of the Bennet family. The development of her relationship with Mr. Bingley, played by Caden Sevier, was especially comical, as they played heavily into Mr. Bingley being wrapped around Jane’s finger. Mr. Bingley was frequently compared to an obedient dog by fetching tennis balls for Mr. Darcy and Jane, even at one point twitching his leg at Jane’s pet scratches. This exaggeration of their canonically anxious connection, despite their mutual affection, was the perfect way to bend their meek and shy love story into an outrageously hilarious one.

The other sisters were unforgettable as well, with Lydia’s boy-crazed tendencies coming through as consistently in this adaptation as in Austen’s descriptions. Her drunken and giggly state at the Netherfield Ball was on point for her fun-loving character, as well as her ridiculous boasting upon eloping with Mr. Wickham (Lance Avery Brown). Mary was similarly well-captured, with the character itching at her gown in discomfort, highlighting how out of place she felt at the ball. However, her character had a much bigger role in this adaptation. She was one of the most memorable characters of the night, taking indirect heat from other characters and having a comically lengthy cough attack that caused the space to fill with laughter. As Mary, Bunn also gave a fantastic delivery of one of the most iconic lines of the night, which elaborates the distinction Austen makes between pride and vanity.

I could not have imagined a more perfect ending to the performance than the skillful combination of comedy, romance, and reflection. Lady Catherine de Bourgh (also played by Robert Bunn) hilariously throws off her wig in outrage at Lizzy and Mr. Darcy’s ultimate engagement, as we see the lights begin to change back to an ambient hue. Elizabeth ties up the loose ends of the “game of love” with a powerful line: “It is not a game. It is serious.” She slow dances with Mr. Darcy to an instrumental of Mitski’s “My Love Mine All Mine,” while bubbles blow around them, subtly encompassing the audience into the long-awaited bliss Lizzy has found for herself. Through the glitz and glam, the absurd and the sensible, Austen’s classic story of overcoming societal pressure and the trials of love has never felt so alive. Grounded in 19th-century romance, the production was a fresh reminder to all that love need not be a game of winners or losers, but can be something to put aside one’s pride and prejudices for.

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