NEW YORK—Jane Austen’s 1813 novel “Pride and Prejudice” examines societal hierarchy and the dangers of letting the importance of self-image interfere with matters of the heart. Sam Wright and Nicholas Collett have taken that material and shaped it into a delightful folk musical called “Prejudice & Pride.”
‘Prejudice & Pride’
The Longborn clan of Longborn Hollow, Tennessee, is in financial straits. Papa and Mama Longborn (Tim Ahlenius and Margaret Shelby respectively), and their adult sons Jake (PT Mahoney), Bennett (Wright), and Lyle (Chris Owen) all face eviction from the family farm. This is thanks to the late Granny Longborn, who deeded the property to televangelist Rev. Willamina Cole (Franci Talamantez-Witte) before she passed. Papa figures the family’s only hope is if one of their sons marries a rich woman.This hope becomes a possibility with the arrival of wealthy New Yorker and internet celebrity Carly Bing (Stefanie Stevens), who has just purchased a vast estate nearby. Carly and Jake feels an instant attraction when they first encounter one another at a local bar.
Accompanying Carly to Longborn Hollow is her longtime friend, Darcy Fitzwilliams (Bridget Casad). A recording artist and heiress to the Pemberly broadcasting empire, Darcy, who is far more comfortable in the concrete canyons of New York, has no use for any of the Longborn Hollow locals. This includes Bennett, a musician in his own right. The two become antagonistic toward each other from the moment they meet. Though despite the initial disdain they both feel, one can’t help but see a spark of something more pass between them.
Before things can get too serious between Jake and Carly, and while Bennett and Darcy continue to circle each other warily, the two women abruptly leave town, with Darcy, in particular, wanting to go back to where she feels they belong. While Jake nurses a broken heart, Bennett tries to understand the apparently turbulent history between Darcy and Pvt. Victoria “Wick” Hamm (Stevens) of the Tennessee National Guard. Also arriving in town is Willamina, who has come to look over her new property. Along with any available men of marriageable age.
The work by the creative teams proves, just like many Shakespeare works, how the original story can be adapted to almost any situation. For despite any enlightenment that may have occurred since the novel was published—along with the genteel refinement seen in most film adaptations of the story—for many, the underlying issues of social standing and class consciousness are as relevant as ever. As demonstrated by Darcy’s initial inability to look past the surface of those she meets at Longborn Hollow. Or with the actions of her uncle, one Senator DeBerg (also played by Ahlenius), who is determined to protect the family legacy from any he deems unworthy. One of the show’s main points is that just because people come from a different background, it doesn’t make them less intelligent.
Wright’s very enjoyable score proves the exception of never musicalizing dialogue that doesn’t necessarily need to be sung, such as when Darcy sings the contents of a letter she wrote in “Dear Bennett.” Another strong number is the poignant “Through the Glass,” delivered by Bennett’s best friend, Luke Charlton (Chris Arnone), about settling for the path you’ve chosen.
There’s also “Pretty Little Goldmine,” which sets up the plot; the comic “Bandits in Love,” which takes place during a car chase; and the somewhat pointed “Pour Another Finger (Of That Tennessee Rye).” The only problem when it comes to the score is that Ahlenius has a habit of swallowing his words while singing, making it sometimes hard to hear the lyrics. Indeed, several of the Act One songs, which were also played during intermission, sounded much clearer recorded than when performed live.
As Bennett and Darcy, Mr. Wright and Ms. Casad play off each other perfectly. Their characters’ relationship going from one of dismissal and annoyance, to grudging respect, cautious flirting and finally, something deeper. Mr. Mahoney and Ms. Stevens are nicely believable as Jake and Carly, though it would have been nice to see this couple a bit more developed in terms of characterization.
Mr. Arnone does a good job as Luke and shows his character to be both conflicted and well-rounded. Mr. Owen is fun as Lyle, a fellow at times too eager when it comes to love. Ms. Talamantez-Witte is fine, if a bit too over the top at times, as Willamina.
Mr. Collett’s direction is sharp, keeping the story moving easily without any dead periods or awkward pauses. The choreography by Ms. Stevens is quite good, not only when it comes to dancing, but also in how the actors move different set pieces about the stage in conjunction with the songs.
There’s much fun to be had in “Prejudice & Pride”—a show which offers characters to root for and the realization that, despite our many differences, we all have more in common than we might first think.
