Originally presented through the Darebin Arts Speakeasy program in 2025 before seasons in Geelong and Canberra, Bloomshed’s Pride and Prejudice has arrived at the Malthouse Theatre as a confident and sharply observed contemporary reworking of Jane Austen’s 1813 novel.
Fast-paced, inventive and consistently entertaining, the production repositions Austen’s familiar story within the realities of modern economic insecurity, asking what love and marriage mean for a generation facing rising living costs, housing instability and uncertain futures.
Mrs Bennet understands all too clearly the value of a strategic marriage, while Jane and Elizabeth remain determined to pursue love, despite the increasingly impractical nature of that ideal. Around them, Mary navigates an extended goth phase, Lydia becomes fixated on the local militia, and Kitty is largely ignored altogether. Even Mr Bennet is represented as a potted monstera, one of many absurd but effective visual devices woven throughout the production.
What makes Bloomshed’s adaptation work so well is its understanding that Austen’s original novel was always deeply concerned with class, money and social survival. Rather than forcing contemporary politics onto the material, the production simply draws out themes already embedded within the text and reframes them for a modern audience. The result is a satire that feels both familiar and immediate.
Directed with precision by James Jackson and Elizabeth Brennan, the production maintains a strong rhythm throughout. Scenes transition quickly, the ensemble work remains tight, and the balance between comedy and emotional sincerity is carefully controlled. Dramaturg Emily O’Connor also deserves credit for shaping an adaptation that feels cohesive despite its blend of Regency convention and modern commentary.
The cast performs exceptionally well across multiple roles. Emily Carr delivers many of the production’s best moments as Mrs Bennet, capturing both the character’s desperation and determination. Elizabeth Brennan anchors the production with an intelligent and grounded Elizabeth, while James Jackson presents a socially awkward and emotionally restrained Mr Darcy.
Syd Brisbane nearly steals the show in the dual roles of Mr Collins and Kitty Bennet, delivering two sharply distinct performances filled with physical comedy and impeccable timing. Laura Aldous is equally strong as the impulsive Lydia Bennet and the sharply judgemental Caroline Bingley.
Anna Louey’s Jane Bennet is warm and composed, contrasting well with her slightly unhinged Anne de Bourgh. Lauren Swain’s deadpan Mary Bennet becomes one of the production’s comic highlights, contrasting well with her cad-like George Wickham. John Marc Desengano rounds out the ensemble with two sharply differentiated performances as the affable Charles Bingley and the imposing Lady Catherine de Bourgh.
The creative team has also delivered an impressive visual world. Savanna Wegman’s oversized decorative cake set functions as both centrepiece and metaphor, reflecting the excess and fragility of the society surrounding the Bennet family.
Samantha Hastings’ outrageous costumes cleverly merge period and contemporary influences, while John Collopy’s lighting and Justin Gardam’s pulsing soundscape give the production much of its momentum and atmosphere.
Balancing sharp satire with genuine warmth, Bloomshed’s Pride and Prejudice proves that Austen’s observations about class, money and relationships remain remarkably relevant. Cleverly staged, consistently funny and unafraid to embrace absurdity, this inventive adaptation delivers both social commentary and crowd-pleasing entertainment in equal measure.
Pride and Prejudice
Merlyn Theatre – Malthouse Theatre, Sturt Street, Southbank
Performance: Friday 15 May 2026
Season continues to 23 May 2026
Information and Bookings: www.malthousetheatre.com.au
Images: The Cast of Pride and Prejudice – photo by Simon Fazio | Emily Carr as Mrs Bennet – photo by Simon Fazio | John Marc Desengano as Charles Bingley and James Jackson as Mr Darcy – photo by Simon Fazio
Review: Rohan Shearn