The title is Sense and Sensibility, but – judging from a preview performance of White Rock Players Club’s current production of Kate Hamill’s Jane Austen adaptation – it could just as well be Style vs. Substance.
An entertaining show – with a lot of talented performers on display – it nonetheless struck an uneasy balance between the kind of theatrical stylization Hamill is famous for (modern interpretations, free-flowing staging, flexible settings, character doubling, caricature poses for the show’s gaggle of Regency society gossips, ensemble members trotting as horses for a couple of suggested carriage rides, and barking as rambunctious dogs in another scene) – and the deeply felt emotional sincerity at the core of Austen’s story.
It’s not that either approach is wrong – and ever-audacious director Alaina Holland does create some quite delightful moments of stylization, including those well-managed carriage rides – it’s simply that, in a show of this kind, they have to find a way to co-exist on the same stage.
As it was at the preview, emotional substance ultimately came out the winner – making for a much more satisfying, and involving, second act.
In fairness to Holland and her cast, part of this may be down to the playwright feeling compelled to repeat some of the same tricks that worked so well for her in her version of Pride and Prejudice – which, as an intrinsically more lighthearted piece, lent itself more to that type of treatment.
Then again, the desired balance may well have already clicked in at some point during the first week of the run.
I’m hoping that this is also true for my other major criticism of the preview performance, that clarity and projection of lines (not just volume) suffered, in a desire to achieve a more naturalistic (or cinematic) approach, including overlapping dialogue, multiple conversations and chaotic tableaux competing for attention.
But the stage is the stage, and, in the hands of relatively inexperienced actors, such approach can result in lines that, especially if blurted in a breathless babble, simply fail to land.
Thus it was that a handful of actors during the preview of Sense and Sensibility were clearly understood and appreciated at all times, while others required intensive listening – something of a task, given the median age of a WRPC audience.
Again, in fairness, comprehension wasn’t helped by the tendency of a few spectators to provide their own running commentary on the action (perhaps that kind of lapse in audience etiquette should be addressed, at some point, in WRPC’s usual warning about turning off potential noise-emitters?)
The strongest element of this show, the emotional substance, is a result of Holland’s adept handling of acting talent.
Much of the weight rests on the utterly capable shoulders of Ally Rafter. She delivers a quietly moving portrayal as eldest Dashwood daughter Elinor, who struggles to maintain a seemly composure while daily assaulted by grief of mourning, loss of family home, romantic disappointment, and intrusive and unwanted confidences.
Even in absolute silence, Rafter speaks volumes about Elinor’s heartaches, and it’s a performance to cherish.
Mallory Hema also carries a lot of the show as impetuous and headstrong middle daughter Marianne – once she got past some early gabbling, she achieved some definitely touching scenes portraying Marianne’s romantic suffering, and increasing emotional maturity.
Alejandro Montoto Francescena makes a notably strong debut on the White Rock stage as Elinor’s frustratingly tongue-tied romantic interest, Edward Ferrars – achieving just the right balance between comedy and sincerity. In addition, he seamlessly morphs into Edward’s appallingly pompous brother Robert, also to great comedic effect.
As the Marianne-smitten Colonel Brandon, experienced player Duncan Minett ably interprets the quiet stoicism of the older ex-military man; while Fred Partridge paints a well-judged portrait of the patronizing moral cowardice of half-brother John Dashwood, who, manipulated by his wife Fanny (Amanda Wong) essentially deprives his stepmother and the Dashwood girls of their rightful inheritance.
Wong, on target as the imperious, judgemental Fanny, also doubles as the object of Fanny’s ire, naive and maladroit Lucy Steel (an unsuitable suitor for her brother Edward) delivering one of the other memorable performances in Sense and Sensibility.
Indeed, Wong’s hilarious solo physical altercation between her two characters (complete with slaps, punches and throttling gestures) is almost worth the price of admission alone.
Destin Amisi is, perhaps, a little short of the mark in portraying the insolent, “bad boy” charm of John Willoughby, but he is highly effective in portraying the quieter contrition of the character in later scenes.
Kay Knighting – of authentically British tones – makes a strong contribution as affable Sir John Middleton and the Doctor, well complemented by Bree Lemckert as gossipy Mrs. Jennings, particularly in her solo scenes.
Eileen Rothe (as Mrs. Dashwood), Miri Grad (as youngest Dashwood sister Margaret), Rabiah Dhaliwal (Lady Middleton, Mrs. Ferrars) and Charlize Matheson (Anne Steel) all have their moments to shine and make the most of them.
Also notable in Charles Buettner and Peter Godman’s production are the Regency-period-appropriate costuming of Laura McKenzie and her loyal crew, and the set design of Holland, the evocative scenic painting of Sophie Angelopoulos and set decoration of Lori Tych.
Sense and Sensibility continues to May 10 (for tickets, call 604-536-7535 or visit whiterockplayers.ca).