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Pride & Prejudice* (*sort of)

Theatre Royal, Glasgow

Five stars 

 

It is just shy of seven years since Isobel McArthur’s poptastic reimagining of Jane Austen’s girl powered nineteenth century novel burst into riotous life at Glasgow’s Tron Theatre in the fledgling Blood of the Young company’s original smash hit production. Since then, McArthur has picked up the directorial baton for a scaled up version that has toured the UK, wowed the West End and picked up an Olivier award for what has become a fully fledged theatrical phenomenon. One might wager as well that bringing Austen’s work to life in this way has done more for the Brit lit classical canon than more traditionally inclined heritage industry homages that intermittently light up stage and screen. 

 

Now here we are for this latest tour coming home to roost in a much bigger Glasgow space than the one where it all began, with McArthur drafting in a brand new young team of all singing, all dancing, potty mouthed performers to pick up the mantle of those who helped create the show. That they do this so brilliantly and with such well-drilled panache while making things their own is one of the wonders of this truly joyous construction.

 

For non-Austenites, the story revolves around the five Bennett sisters, a living potpourri of attitude and awkwardness, whose mother spends her life attempting to hustle them into marriage. Eldest Jane and her younger sibling Elizabeth in particular become party girls by default, having a ball while keeping their integrity and everything else intact. Cue Fitzwilliam Darcey and a host of high-class himbos who embark on a merry dance with assorted sisters in an elaborate and protracted courtship. 

 

With a whole lot more going on besides, all this is framed by the cast as maids who dive into the dressing up box and cosplay the assortment of intrigues with a playful abandon that includes them taking the men’s parts as well as those of the women. As played out on Ana InésJabares-Pita’s book lined set designed for the grandest of entrances, this is delivered in a thoroughly modern vernacular that makes for a hysterical series of set pieces from all five performers as they burl their way through a multitude of characters and costume changes. 

 

Christine Steele, Naomi Preston Lowe, Rhianna McGreevy, Emma Rose Creaner and Eleanor Kane are a joy to watch. Led by Emily Jane Boyle’s fun loving choreography, when they burst into song, the pinks and purples of Colin Grenfell’s karaoke bar lighting illuminates a show that looks set to clean up for a good while yet. 


The Herald, March 6th 2025

 

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