Review: SENSE AND SENSIBILITY at Circa Theatre

Director Penny Ashton
Set and costume design Ian Harman
Producer Gavin Rutherford
Musical Director Gareth Farr

“Sense and Sensibility” is a classic novel by Jane Austen, published anonymously in three volumes in 1811. It offers a vivid depiction of 19th-century middle-class life in England, following the romantic relationships of Elinor and Marianne Dashwood.

The story revolves around two sisters, sensible Elinor and passionately emotional Marianne, who seek true love and happiness while navigating secrets hidden behind "gentlemen’s" flannel waistcoats during the British Regency period

Six women play 24 characters in this production, which runs a fine line between comedy and drama perfectly. 

Based on Jane Austen’s masterpiece, Sense and Sensibility is the latest rewrite by Penny Ashton and her directorial debut. 

The cast shine brightly in this production, most notably, Bronwyn Turei, who plays most of the main male characters, Lily Tyler Moore, the headstrong Marianne Dashwood and Aimée Sullivan whose portrayal as the youngest of the sisters is absolutely spot on, as is her brief portrayal of the gruff Mr Palmer.

The set, lighting and costuming were all of a high standard as you would expect from a Circa production and manouvered well by both the cast and some stage hands, who also acted the part when scene changes were happening, casually dancing along when changing to a ball scene. Music again was excellent with a number of "Bridgerton" type pieces being played. 

It was nice that the cast were not using head mics, and they all projected well and every word could be heard.

This show is very witty, managing to keep the story intact while injecting humour throughout. My favourite line was when Mrs Jennings was wanting some gossip and asked Marianne to "Spill the devonshire tea".

I felt the production was a bit too long and would have benefitted by a 10-15 minute trim. One of the most amusing scenes (the travel to and from Barton Cottage) was done three times, thus losing its impact. 

I particularly enjoyed the clever use of a hat as Bronwyn Turei effortlessly moved between two scenes at once, as both Edward Ferrars and Willoughby, changing mannerisms and using the hat as the easily identifable difference between the two characters. 

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