The audience for the opening night of the latest adaptation of one of the most popular novels ever written was probably more attracted by the star of the evening rather than any passion for Jane Austen. Certainly there would have been devoted Janeites/Janiacs fans there, but word would have spread that Nadine Garner’s virtuoso performance was a definite “must see”.
Like “Jane Austen’s Music”, presented at the Melbourne Recital Centre in May, Austen’s words were coupled with music related to her world. In that performance violinist Rachael Beesley directed “Lizzy’s Band” of 17 musicians, and featured pianist Aura Go read selections from Austen’s works related to music – and there are plenty of those. Many were also incorporated into the current Pride and Prejudice adaptation.
In contrast to the MRC concert, there were no audience members dressed in Regency garb – not one bonnet or Empire line dress to be seen either off or on the stage, despite a demurely dressed Garner prominent in the main publicity photo. When she eventually made her appearance – to warm applause – after about 30 minutes of music, she was dressed in an androgynous looking long grey velvet coat, cravat, vest and riding boots. It was a striking outfit and served to more readily present the male characters of Austen’s story. It was also a link to the fact that Austen was obliged to present her work as being written by a man.
Music was an important part of Austen’s life. She is known to have copied close to 200 manuscripts, and her niece Caroline described her playing and singing. In the lengthy musical introduction, violinist Madeleine Easton was friendly and relaxed; “No, I’m not Nadine Garner” she announced upon entering. Her account of the social and musical contest of the novel and the stifling constraints on women was delivered confidently and with a spark of humour. Outstanding classical musicians, she and pianist Dan Le incorporated musical excerpts ranging from Schubert and Beethoven (another artist challenging commonly accepted values) to snatches of dance music – gavottes, waltzes and reels – that would be heard at a Netherfield Ball and exploited for their matrimonial potential.
Chief among the musical material was Carl Davis’s theme music heard at the beginning of the BBC’s TV series starring Jennifer Ehle and Colin Firth. This captivating music is justly called “iconic” as its power to quicken pulses is almost as effective as Colin Firth’s wet shirt. Although Davis drew inspiration from Beethoven’s Septet in E-flat, Easton explained that Davis also drew upon other music of the time, specifically Schubert’s Sonata No. 1 to create an appropriate musical context for the action. Throughout this performance snatches of it acted almost as a leitmotif for the emotional frisson between Elizabeth Bennet and her Mr Darcy.
Mozart’s music was also used to musically illustrate certain events; we heard a march from The Marriage of Figaro as Mr Wickham came into view, Garner momentarily assuming his strutting persona. Although violinist and pianist were skillful in the way they used music to emphasize a point, it sometimes became intrusive. I longed to hear more of the text unadorned by an almost perpetual undercurrent of instrumental sound. It was quite enough to have Garner enact the variety of characters using a significant armoury of vocal colourings: male and female, upper and lower class, and the variety of personal traits that Austen portrays with such dry wit. Both Easton and Garner wore body mics, which is particularly fortunate in Garner’s case as she would not have been heard some of the time without it.
An impressive repertoire of physical detail also informed Garner’s characterisations. Slight shifts in facial expression – the raised eyebrow, the gleeful smile – coupled with the occasional pregnant pause amplified meaning. Tyran Parke’s imaginative direction ensured physical vitality. During a short pause in the action, the sofa was turned to suggest a carriage, and Garner’s movement completed the illusion perfectly as she rode along admiring the scenery. (Did she really fall in love with Darcy’s stately home as much as with its owner?) A portrait frame as a carriage window for Lady Catherine de Bourgh worked wonderfully well when Garner entered that space, cleverly devised by set and costume designer Mikailah Looker.
This production may not be the traditional way of presenting great literary works theatrically, such as readings of Dickens’ works by Emlyn Williams and Miriam Margolyes, where the focus is strictly on the actor delivering the text, but it does succeed in bringing new audiences to the delights of Jane Austen’s prose, and provides an opportunity to see Nadine Garner’s stunning command of the stage.
Photo supplied.
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Heather Leviston reviewed “Pride and Prejudice – An Adaptation in Words and Music”, presented at the Fairfax Theatre, Arts Centre Melbourne on October 2, 2024.
