“06880” culture correspondent Robin Moyer Chung writes:
“It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife.” — Jane Austen, “Pride and Prejudice”
Once wed, the fun begins.
And so it does in Westport Country Playhouse’s world premiere of Ken Ludwig’s “Pride and Prejudice, Part Two: Napoleon at Pemberley.”
Ludwig, who has written numerous plays including “Lend Me a Tenor” and “Moon Over Buffalo,” crafted a clever, zippy script, elevated by an outstanding cast, splendid sets and costumes — and a promise from Playhouse executive director Mark Shanahan that “a theater exists only to entertain its audience.”
It’s the spring of 1814, shortly after their marriage, when Elizabeth Bennet and Fitzwilliam Darcy receive notice that Napoleon Bonaparte wishes for a respite at Darcy’s estate, Pemberley, before his exile to Elba.
While the Darcys bicker about the wisdom of hosting the disgraced emperor and enemy of the Mother Country — Elizabeth thinks it’ll be a lark; Darcy thinks they’ll be stabbed in their sleep — a disheveled Bonaparte skulks in, hands deep in his pockets.
Reg Rogers as Napoleon Bonaparte.
Lady Catherine de Bourgh arrives at Pemberley with her timorous daughter, Anne. Anne promptly takes up with Lieutenant Melville who, along with Major Hudson Lowe, is charged with overseeing Bonaparte’s exile after his holiday.
Though tousled and brooding, Bonaparte promptly charms everyone in his orbit (except Major Lowe), convinces an obstinate Darcy to throw a ball, and overhauls the estate’s daily menus.
With that clever and tricky premise the show maintains credibility, never devolving into satire or social commentary.
An impressively credentialed cast, beautifully directed by Emily Mann, deftly delivers Ludwig’s smart ripostes, including Bonaparte’s quip about Major Hudson Lowe: “You perceive the problem. He is living proof that the brain is not a necessary organ to support life.”
Lowe retorts, “but you never know with the French, you know they eat snails.”
Costume designer Jennifer von Mayrhauser’s colorful Regency-era gowns, with an appropriately restrained buoyancy, and tailored suits with waistcoats and cravats, froth against Beowulf Boritt’s set, anchored by stunning ornamental panels.
(I wonder: Are they for sale after the show? They’d look fantastic in someone’s home.)
Delphi Borich and Tony Roach. (Photos/Carol Rosegg)
The only stone in the fruit is the final part of Act 1. The show unexpectedly takes a serious turn, and the comedy dries up. The turn is so abrupt, in fact, that a few disappointed audience members left at intermission.
Yes, comedy needs a core, and a tonal shift can create welcome tension. But I think this shift comes too late in the show; inserting gravitas into comedy is less palatable than vice versa.
Don’t worry — the comedy bounces back in Act 2.
Was it “Bridgerton” that sparked a wave of period pieces? In a little over a year, 3 of the Playhouse’s productions are set more than 100 years ago.
I’m happy to see that contemporary shows are on the schedule for the rest of the season.
One more thing: An informal focus group suggests moving evening showtimes to 7 p.m. instead of 8 p.m. Thoughts?
(“06880” regularly covers the Westport Country Playhouse — and all of our town’s art scene. If you enjoy stories like this, please click here to support our work. Thank you!)
