Jane Austen made a point of it: ‘sense’ and ‘sensibility’ ought to be complimentary – not warring – forces in human life.

In fact, as her 1811 novel Sense and Sensibility argues, it’s necessary that qualities of rationality and emotionalism operate in balance with one another.

That argument is encapsulated in the story of the Dashwoods – a widowed mother and her three daughters, left impoverished and dependent on the charity of others due to the fact that, in the patriarchal society of Regency England, inheritances passed only to surviving male heirs.

In eldest sister Elinor, ever-rational, prudent and controlled; and middle sister Marianne, consistently buffeted by her emotions, Austen painted compelling portraits of both extremes, then subjected her characters to a seesaw of romantic hopes and anguished disappointments.

Sense and Sensibility is a tale that encompasses both humour and heartbreak – and, as freshly energized for the stage by American actor/playwright Kate Hamill, and presented by producers Charles Buettner and Peter Godman for White Rock Players Club – it’s coming to Oceana PARC Playhouse (1532 Johnston Rd.) from April 23 to May 10.

Hamill, who also took on Austen’s Pride and Prejudice, a hit for WRPC in 2024, is noted for creating free-flowing adaptations of the author’s lengthy novels, using comedy and movement, doubling and tripling of roles – and minimalist set elements – to cover multiple scenes and characters.

But her work – while presented with a distinctly modern flair and resonance – still manages to honour Austen’s sharp observations about the deeply entrenched class system and the inequities and hypocrisy of late-18th, early-19th-century society.

Wisely, WRPC has brought back the director of Pride and Prejudice, respected and audacious community theatre artist Alaina Holland (WRPC’s Casablanca, Peninsula Productions’ Who’s Afraid of Virginia Woolf) to helm the current production.

A 20-year veteran of community theatre, Holland can never be accused of not doing her homework on the shows she directs, nor of not having a vision for each of the productions (that’s being helped immeasurably in Sense and Sensibility, she said, by the inspired scenic painting of set elements by Sophia Angelopolis, who also worked on Casablanca).

Prior to a recent rehearsal, she shared some of her process with the Peace Arch News.

Typically, she said, she will spend some four to six months, well before casting the show, familiarizing herself with every page, line and stage direction in the script.

“I tend to do initial blocking (plotting character movement) with detailed maps – at least I know where everybody should and shouldn’t be,” she laughed.

“I’m not a big believer in blocking on the fly – it wastes a lot of rehearsal time,” she added, while noting that if changes do take place, she has a “really fantastic stage manager” (Katie Campbell) to take careful notes and keep everything on track.

“I like to pick a script apart. It helps me, being an actor as well – I look at it from both an actor’s and a director’s perspective. I see what the ‘spine’ of a particular character is, plus I also see what I, as a director, would like that character to be on stage – that’s a gift.”

Good casting is crucial, she agreed – and that often hinges on finding a certain chemistry between actors, which can be just as important as evaluating the individual qualities of those auditioning.

She also prefers actors who are willing to grow in a role, she said, rather than turning in a polished performance at the audition – but one that never develops from then until opening night.

Bringing a willingness to ‘play’ to rehearsal is very important for her, she said.

“What I really enjoy is when an actor brings in something that’s surprising to me,” she said.

“I love it when an actor comes up with an idea for delivering a line or a different bit of business. I say ‘don’t even ask me if you want to try something – just do it!’ I can always say no.”

Holland is very happy with her current cast, she said, which includes such local talents as Ally Rafter as Elinor, Mallorey Hema as Marianne, Miri Grad as youngest sister Margaret Dashwood, and Eileen Rothe as Mrs. Dashwood.

“Mallorey is great – she was our Lizzie in Pride and Prejudice,” she said.

“And Ally is wonderful as Elinor. These are the two that don’t do any doubling in the show because they have that much to do – in fact there’s hardly any time when Ally isn’t on stage. The two of them will make you laugh – and they’ll also break your heart.”

It’s not as comedic a show as Pride and Prejudice (“there are times when it is quite devastating,” Holland said), but it does have its fair share of humour.

Some of this comes by way of one of Hamill’s clever devices – the creation of a five-member group within the ensemble known as ‘The Gossips,” who are outspoken in their comments on the characters and events between scenes, providing not only some comedy relief, but also a context of the real social attitudes of Regency England.

“They’re sort of a cross between a social media of the time and a Greek chorus,” Holland said.

“It’s the ‘maelstrom’ of the Gossips – that’s the way I explained it when we were auditioning. I wanted people to understand what they were in for. They actually do a lot of the heavy lifting for the show.”

Other members of the versatile ensemble include Fred Partridge (John Dashwood, Thomas, Servant); Alejandro Montoto (Edward Ferrars, Robert Ferrars); Amanda Wong (Fanny Dashwood, Lucy Steele, Mrs. Ferrars); Duncan Minett (Colonel Brandon, Ballroom Guest); Deste Amisi (John Willoughby, Gossip); Key Knighting (Sir John Middleton, Gossip, Doctor); Bree Lemkert (Mrs. Jennings); Rabiah Dhaliwal (Lady Middleton, Gossip); and Charlize Matheson (Anne Steele, Gossip).

“There are no divas – everybody gets along. Everybody is professional and working hard,” Holland said.

“That’s the secret – getting the right kind of people, with the right kind of storytelling skills, and letting them play.

“I think the audience is going to be delighted. If I’m delighted – I’m sure the audience will be. That’s my theory, anyway!”

Performances begin with a 7:30 p.m. preview on Thursday, April 23, followed by 7:30 p.m. shows April 24 and 25, and on May 1,2,7,8 and 9; with 2:30 pm matinees April 26, May 3 and May 10.

For show times, ticket information, and more details, visit whiterockplayers.ca or contact the box office at (604) 536-7535.