More than two centuries after Jane Austen first introduced readers to Elizabeth Bennet and Fitzwilliam Darcy, Pride and Prejudice (*sort of) proves that great storytelling transcends time.
Isobel McArthur’s Olivier Award-winning adaptation is neither a faithful period piece nor a parody, but an exuberant reinvention that celebrates Austen’s wit while gleefully dismantling convention.
Framed through the eyes of the household servants who have quietly observed the romantic dramas unfolding around them, McArthur’s adaptation strips away the genteel restraint often associated with Austen and replaces it with infectious theatricality, sharp comedy and an energetic soundtrack of pop classics.
It is a bold concept that could easily become gimmicky, yet this production never loses sight of the emotional truths that have made Pride and Prejudice endure for generations.
Director Simon Harvey steers the production with admirable confidence, allowing the comedy to flourish without sacrificing the heart at the centre of Austen’s story. Working alongside associate director and choreographer Simone Sault, Harvey maintains a brisk pace throughout, giving the comedy and emotional beats equal room to land.
The production moves effortlessly between broad physical comedy, moments of genuine romance and cleverly staged musical interludes, each transition feeling both seamless and purposeful.
The extraordinary cast of five demonstrates remarkable versatility, each performer inhabiting a multitude of characters with astonishing speed and clarity. Costume changes become part of the comedy, accents shift in an instant and entirely new personalities emerge through the smallest physical adjustments, creating an ensemble performance that is impressive as it is consistently funny.
Teo Vergara delivers a captivating Elizabeth Bennet, balancing intelligence, vulnerability and razor-sharp wit with effortless charm. Her chemistry with Zoe Ioannou’s wonderfully unexpected Mr Darcy provides the production with its romantic heartbeat, while Ioannou displays exceptional comic instincts across multiple roles, particularly as the delightfully overbearing Mrs Bennet before transforming into the famously reserved Darcy.
Amy Lehpamer displays impressive versatility, moving effortlessly between the quietly perceptive Charlotte Lucas, the amiable Charles Bingley and the deliciously snobbish Miss Bingley, while Kaori Maeda-Judge revels in the theatrical extremes of Mr Wickham and Lady Catherine de Bourgh without ever allowing the characters to descend into caricature.
Ruby Shannon proves equally accomplished, wringing enormous laughs from the pompous Mr Collins while bringing warmth to Mary and Lydia Bennet. Collectively, the ensemble’s precision and comic timing are exceptional, ensuring every character remains distinct despite the production’s relentless pace.
Integral to the show’s success is its joyful use of contemporary pop music. Songs including Young Hearts Run Free, Will You Love Me Tomorrow, Holding Out for a Hero, You’re So Vain, At Last, The Lady in Red and Smooth Operator are woven organically into the storytelling rather than serving as mere musical punctuation.
Ana Inés Jabares Pita’s set design makes imaginative use of the Athenaeum Theatre’s intimate stage. Dominated by a sweeping staircase and an oversized bookcase that cleverly evokes the world of Austen’s novel, the versatile playing space shifts effortlessly from drawing rooms and country estates to bustling ballrooms with minimal scenic intervention.
Jabares Pita’s period-inspired costumes, realised for the Australian production with costume supervisor Isaac Lummis, firmly establish the Regency setting while accommodating the show’s remarkable speed of transformation. Layered garments, clever styling and rapid costume changes become an integral part of the storytelling.
Jason Bovaird’s lighting design skilfully shapes the shifting moods of the evening, from exuberant concert-style numbers to more intimate dramatic moments. Marcello Lo Ricco’s superb sound design ensures every lyric, punchline and emotional beat lands with clarity.
What distinguishes Pride and Prejudice (*sort of) is the way it balances irreverence with an understanding of Austen’s enduring appeal. While McArthur’s adaptation freely reimagines the novel’s structure and perspective, it remains anchored by the themes that have sustained the story for more than two centuries.
Themes of love, class, social expectation and female agency emerge with surprising clarity through McArthur’s contemporary framing. The humour never overwhelms Austen’s insight; instead, offering a fresh perspective on a story that continues to resonate across generations.
Inventive, sharply performed and consistently entertaining, Pride and Prejudice (*sort of) is a joyous reimagining that honours Austen’s legacy while confidently making the story its own. Highly recommended!
Pride and Prejudice* (*sort of)
Atheneum Theatre, 188 Collins Street, melbourne
Performance: Thursday 25 June 2026
Season continues to 11 July 2026
Bookings: www.ticketmaster.com.au
Following the Melbourne season, Pride and Prejudice* (*sort of) will play the Sydney Opera House from 16 July, IPAC Wollongong from 2 September, Canberra Theatre Centre from 16 September and QPAC, Brisbane from 30 September 2026. For more information, www.prideandprejudicesortof.com.au for details.
Images: Ruby Shannon, Kaori Maeda-Judge Amy Lehpamer, Zoe Ioannou and Teo Vergara in Pride and Prejudice* (*sort of) – photo by Matthew Chen | Amy Lehpamer in Pride and Prejudice* (*sort of) – photo by Matthew Chen | Zoe Ioannou, Amy Lehpamer and Teo Vergara in Pride and Prejudice* (*sort of) – photo by Matthew Chen | Teo Vergara, Kaori Maeda-Judge , Zoe Ioannou and Ruby Shannon in Pride and Prejudice* (*sort of) – photo by Matthew Chen | Zoe Ioannou, Amy Lehpamer and Teo Vergara in Pride and Prejudice* (*sort of) – photo by Matthew Chen