Through Sun 3/5
Great Lakes Theater offers a delightfully funny, sassy Tik-Tok update of Jane Austen’s Sense and Sensibility.
Directors Sara Bruner and Jaclyn Miller take playwright Kate Hamill’s 2014 adaptation of Austen’s first published novel and relish its satiric bones. This Great Lakes production makes Austen’s late 18th-century tale completely relatable to today’s audience, one used to quick takes and comic fakes.
When the play opens, the large Dashwood family has been cast into financial ruin due to the death of their beloved father. Uncaring relatives take over the estate the Dashwood family called home. Mrs. Dashwood and her children must now find a way to live. It’s not so bad for the sons who can join the military or the clergy, but their daughters must either marry or try to exist on charity.
Daughters Elinor (a restrained, sensible Maggie Kettering) and Marianne (a flighty, emotional Angela Utrera) make their way gingerly through various romantic and social minefields before finding at least the promise of a happy ending. Kettering and Utrera convey their sisterly relationship with conviction. They are the only actors who don’t also play other characters — which makes it easier to follow their sisterly story since everyone else on stage assumes multiple personalities.
Gender traditions are tossed aside, since at times ladies are played by men with beards and “gentlemen” betray feminine curves via their tight-cut trousers. Almost all others are also assigned the role of “Gossip.” The Gossips served to open the play, hasten action, and orient the audience.
The following list provides an illustration of how many roles each player assumed.
Laura Welsh Berg (as Gossip/Fanny/Willoughby) went from happy teen to male cad with ease; Vilma Silva (Gossip/Lady Middleton/Anne Steele/Mrs. Dashwood) turned from snobby lady to pathetic widow as the story continued; Nick Steen (Gossip/Colonel Brandon/Robert Ferrars/Thomas/Mrs. Ferrars) was charming as Colonel Brandon and hateful as Mrs. Ferrars; M. A. Taylor (Gossip/John Dashwood/Sir John Middleton/Doctor) played [relatively] good guys. Joe Wegner was likeable as a Harry Potteresque Edward Ferrars and comic as busybody Mrs. Jennings. [Ahem. I do not think Mrs. Jennings would have manspread while sitting at the table however.]
Understudy Jaedynn Latter stepped in to replace Hanako Walrath the night I was there (February 17). Latter’s comic Dashwood sister, too young to think about marriage, bounced around with giggly abandon, offering a strong contrast with the other character she played, the scheming Lucy Steele, who wasn’t too young to crave marriage.
Nothing is taken too seriously — even death. All is presented politely and in good humor, but it’s as if someone had taken a Lego kit and assembled each scene and costumed each actor. For example, the dead father is “played” by a stuffed dummy (which is treated with great respect as it is carried off to its funeral). A Grand Lady is represented by a larger than life-sized sheet of stiff paper and another character is painted on a set wall.
Praise for special effects is due to Iran Micheal Leon for wigs and hair (lots of facial hair) and Mieka van der Ploeg for costume design (in a way, “actor design”). The costumes were multi-layered specials and added to the comic effects created by the storyline’s quick changes (often onstage). Jillian Kates, dance captain, oversaw some breath-holding onstage moves as actors changed and shape-shifted before our eyes.
The expansive set added a note of humor too. Designed by Courtney O’Neill, it featured white walls and floor decorated with bright, primary colors and drawings (a la French-style toile de Jouy) of landscapes and figures.
Credit should go to Paul James Prendergast, composer and sound designer, and Erica Lauren Maholmes, lighting designer. Sarah Kelso was stage manager, with Nicki Cathro & Imani Sade as assistant stage managers.
Bottom Line: Although it offers a full evening of theater over two hours, this delightful Great Lakes take on a lengthy British novel is never boring. Great direction, great cast, great show. Jane Austen, I am sure, would have loved it.
[Written by Laura Kennelly]
One Response to “THEATER REVIEW: “Sense and Sensibility” @ Great Lakes Theater by Laura Kennelly”
EDWARD MYCUE
Changes in costumes, roles, such varied stories albeit within such confined social lives within an upper (“upper”?) class of society without the vivacity described in the actors would make my head spin. But I’d like to give it a going-go were it here in San Francisco. I could use some such diversion especially this new year all frayed and fraught.