Pride and Prejudice (sort of) ~ A Delightfully Irreverent Celebration of a Literary Classic
“Indulge your imagination in every possible flight.” ― Jane Austen
Jane Austen’s Pride and Prejudice has captivated readers for over two centuries, but Pride and Prejudice (*sort of) offers a refreshingly modern and wildly entertaining take on the beloved novel. Created by Isobel McArthur and originally premiering in the UK to critical acclaim, the production reimagines Austen’s classic through the eyes of the servants who would have worked behind the scenes of Regency England’s grand households. The result is a clever, energetic and laugh-out-loud adaptation that retains the heart of the original story while infusing it with contemporary humour, music and irreverent charm.
Now playing at Melbourne’s Athenaeum Theatre, this Australian production is carried by an exceptional cast of five performers — Amy Lehpamer, Zoe Ioannou, Kaori Maeda-Judge, Ruby Shannon and Teo Vergara — who collectively portray every character in the story. From the Bennet sisters to the pompous Mr Collins and the enigmatic Mr Darcy, the cast switches seamlessly between roles, often within moments, showcasing remarkable versatility and theatrical precision.
Amy Lehpamer is particularly outstanding, delivering a masterclass in characterisation and comic timing. Whether portraying a romantic heroine or an eccentric supporting character, she commands the stage with infectious energy and impeccable comedic instincts.
Equally impressive are Zoe Ioannou, Kaori Maeda-Judge, Ruby Shannon and Teo Vergara, each bringing their own distinctive flair to a multitude of roles. The chemistry between the performers is undeniable, with their strong ensemble work creating a sense of effortless collaboration. Their timing, trust and responsiveness to one another ensure that even the most chaotic moments are tightly executed and endlessly entertaining.
One of the production’s most inventive features is its use of well-known pop songs to tell the story. The drama, romance and social intrigue of Austen’s world are hilariously expressed through a soundtrack that spans decades, with familiar tunes becoming vehicles for both comedy and character development. George Michael’s Careless Whisperperfectly capturers the yearning and misunderstandings that fuel much of the story’s romantic tension. Elsewhere, songs such as Young Hearts Run Free, Will You Love Me Tomorrow, You’re So Vain, Lady in Red, and You’re the One That I Want are cleverly woven into the narrative, transforming key moments into joyous musical set pieces.
The music never feels shoehorned in; rather, it becomes an integral storytelling device that helps modern audiences connect with Austen’s characters and themes. Whether expressing heartbreak, attraction, jealousy or triumph, each song adds a fresh layer of humour and accessibility to the narrative.
Director and cast embrace the absurdity of the adaptation without losing sight of the themes that have made Austen’s novel endure: love, pride, prejudice, family expectations and personal growth. Beneath the comedy lies a genuine affection for the source material and a keen understanding of why it continues to resonate with audiences today.
Whether you’re a lifelong Austen devotee or completely unfamiliar with the novel, Pride and Prejudice (*sort of) offers a joyous and accessible theatre experience. Clever, fast-paced and bursting with talent, it is a fun and inventive way to celebrate one of literature’s most cherished and utterly irresistible stories.
