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Regional Reviews: St. Louis Austen's Pride Also see Richard's reviews of Steel Magnolias and Dollhouse by Three Manufacturers
And while Lindsay Warren Baker and Amanda Jacobs' lyrics for Austen's Pride are lacking in contrast or wordplay, their dreamy music is appealing, and their libretto gracefully moves the story from novel to stage. The overall direction by Igor Goldin is, well, golden, in a two and a half hour long show (with intermission) that debuted at A Contemporary Theatre of Connecticut before moving to the 5th Avenue Theatre, also in 2019. Director Goldin has helmed three past productions of the property, including a concert version at Carnegie Hall, so this one goes by in a swirl. And yet the show could still use more high points. But it's hard to "let loose" in song (in the popular manner) when one's wearing a corset. With a live Stages orchestra and crystalline music direction by Sheela Ramesh at the Kirkwood Performing Arts Center, the show is plausibly billed as a "pre-Broadway production." Olivia Hernandez exalts the story as Austen: quietly brilliant and self-critical as the novelist, with her own broken romance to figure out. And perhaps Austen's Pride even resembles one of the five Bennet sisters, themselves. Though I'm not exactly sure which one. It could be likened to the eldest daughter, Jane (Addie Morales), a "classic beauty," since there are lots of lovely visuals throughout, on a set designed by Josh Zangen, with lights by Jason Lyons and costumes by Emily Rebholz. Or Austen's Pride could be a "Lizzy" (Delphi Borich) kind of show, after the second daughter, and the book's main character: sly and insightful and not afraid to cleverly answer back. Except that the show itself is barely sly at all, with nearly all the insight emanating from the original source material. Regardless, Ms. Borich maintains a perfect grasp of story as Lizzy, in song and character. It's really not a "Lydia" type of show, either. Kate Fahey is comically enthusiastic as the would-be "daughter of the regiment." And she and director Goldin make good use of their chorus of swains in redcoats, with fine choreography by Lisa Shriver. Nor is it a "Kitty" show (Kitty is played by Cali Noack, who later doubles nicely as Mr. Darcy's sister Georgiana). She giggles and sneezes and is sometimes written-out of other stage adaptations entirely. So (by process of elimination), perhaps Austen's Pride is best described as a "Mary Bennet" type of show. Gifted comedienne Sarah Ellis plays the finger-wagging fille who's slavishly devoted to books and (like the show itself) is quite insistent about breaking into sometimes tiresome song. Like Mary, everyone on stage wags their finger at one another quite a lot. Though it's almost always a great deal more charming than the fourth Bennet daughter's stern reprimands. And, unlike Mary's questionable musicality, the songs here are almost invariably pretty. Though, for the most part, the lyrics are just a collection of pleasant, easy rhymes, with neither a particular structure, nor the distinguishing characteristics we've come to expect from one song to the next in a modern day musical. Instead the show is rightly devoted to the original manuscript, and we rejoice that Austen's "blue-pencil" rewrites become more psychologically fascinating near the end. So now the big question is: "what about Mr. Darcy?" Dan Hoy is great as the handsome anti-playboy, mysterious and rich and overly disciplined. He sings beautifully, and (except for his seeming aloofness) his Mr. Darcy is the perfect match for Ms. Borich's Lizzy. Close friend Mr. Bingley is played by the adorable Cole Thompson. And the two young men have a fine explanation of each of their own complementary good qualities. Sarah Ellis returns (she's the comical Mary Bennet in other scenes): fantastic as Bingley's calculating sister Caroline, competing for Mr. Darcy's attentions, and daring Lizzy to "take a turn about the room together" in a show of physical grace. Later, the big dance scene (at Netherfield Hall) is just terrific. Michael Burrell is perfect as the dashing Wickham, and Kevyn Morrow and Sally Wilfert are excellent as Mr. and Mrs. Bennet. Ms. Wilfert transforms wildly into the dragon-like Lady Catherine de Bourgh, who simmers with rage over Lizzy and Darcy's romance; and Mr. Burrell changes out of Wickham's ponytail and redcoat for a very different, heartwrenching turn as Austen's lost love Tom Lefroy. Paul Castree is lots of fun as the strutting Mr. Collins. Ms. Hernandez, who mostly plays Austen, doubles smoothly as Charlotte, Lizzy's warm but rationalistic friend. Dianica Phelan is admirable as Austen's sister Cassandra, coaxing the author through the tricky manuscript mark-up process. And as big decisions loom later in the book, the confrontations between author and main character become unexpectedly direct and compelling. This could be further built-upon. The whole thing glides along like opera or, more specifically, like drawn-out recitative, with lovely singing and musical ornamentation that's generally ethereal. But there's hardly any stylistically driven reason for most of the numbers. They're pretty "songs," but generally more reflective than plot-furthering. Nevertheless, if you've always had a soft spot for the story, it's often quite lovely. I'd give it three and a half stars out of five. And, at last: a musical about editing! Austen's Pride, produced by Stages St. Louis, runs through August 24, 2025, at the Kirkwood Performing Arts Center, 210 East Monroe Avenue, St. Louis. For tickets and information, please visit www.stagesstlouis.org. Cast (in order of appearance): Swings: Graham Keen*, Brett Rawlings* The Stages Orchestra Production Staff: Additional Credits: Associate Costume Designer: Maeve Rose * Denotes Member, Actors' Equity Association |
