One of many delights of TheatreWorks Silicon Valley’s joyous manufacturing of “Georgiana and Kitty: Christmas at Pemberley” is how the present works on probably the most primary ranges of comedy.
Principally, it’s humorous; very, very humorous.
However that’s not all it’s. The laughs are plentiful, accentuated by whip-smart actors who calibrate phrases resulting in plenty of pauses for viewers uproar. These laughs are balanced with actual world points, and an eager for these gentlewomen locked into the suffocating zeitgeist of early 1800s British Regency.
The profound pens of Lauren Gunderson and Margot Melcon convey Jane Austen’s world to life, a world that scares the bejesus out of uber-talented Georgiana Darcy (Emily Ota). She is a piano composition savant, but cowers when it comes time to push towards any type of territory that forces her to make use of her company.
The identical can’t be mentioned for Kitty (Kushi Beauchamp), Georgiana’s finest pal filled with adventurous concepts, one whose generosity is aware of no bounds. Affairs of the center have their place in Kitty’s world, but Georgiana has neither the time or confidence to have interaction; the field that comprises 88 keys is a way more solvable puzzle than is love.
Others on this enmeshed world present dutiful delight, every contributing units of guffaws and giggles all around the drawing rooms that make up this Austen-stylized world. These embrace Elizabeth (Amanda Pulcini) who advocates mightily for Georgiana, regardless of her husband Fitzwilliam’s (Jordan Lane Shappell) overbearing nature, rooted in defending his little sister regardless of flashing his misogyny too many instances.
Others who contribute with bliss to the proceedings are the spry Lydia Wickham (Jenny Nguyen Nelson), eldest sister Jane Bingley (Monique Hafen Adams) and quick-witted Mary (Maria Marquis).
However what’s an Austen story with out conflicts of affection and heartbreak? There’s a gentleman who appears good for Georgiana — the devilishly good-looking charmer Henry Gray (Nima Rakhshanifar). But he doesn’t come into the fold with a totally clear slate, activating the rancor of Fitzwilliam, who hovers between passionate protector and unbearable louse. Proprietor of vapidity Thomas O’Brien (William Thomas Hodgson) tries to assist the state of affairs whereas additionally changing into significantly smitten with Kitty.
It’s simple to dismiss the play as vacation fare, particularly contemplating that exterior a couple of references used sporadically, the play could be set throughout any a part of the yr. The play is delightfully formulaic, due to the heat and pleasure contained in the story, directed with sharp strokes by Giovanna Sardelli. These strokes make the journey as pleasant as peppermint sizzling cocoa. The forged deftly performs a really particular model, the place aptitude carries critical social capital.
Every forged member takes a flip having their second within the highlight, however it’s the magnificent efficiency of Ota that rockets the play’s ascendance. Georgiana is a job of vary — the highs shatter the ceiling, however the lows shatter the soul. It’s Ota’s duty to dispose of each low expectation thrown her manner, however as her Georgiana continues to combat off the incoming, the outgoing will get extra highly effective with every sleight that bends, however by no means breaks her.
Different performing turns carry a great deal of enjoyable inside that model. Hodgson is masterful at delivering strains that includes caloric vacancy with nice comedian success. Nelson’s Lydia hilariously fights her solution to get within the combine, as Beauchamp parries with ease, impeccably listening to maneuver fluidly all through each single one in every of her realities. Shappell is a terrific Fitzwilliam, equal components giddy and grating.
The Regency world is mightily assisted with technical touches, starting with Andrea Bechert’s hyper-detailed scenic design and Cathleen Edwards’ lush costumes. James Ard, one of many Bay Space’s finest audio practitioners, is simply straight flexing. What does KPop Demon Hunters need to do with Jane Austen? It’s a must to watch and hear to seek out out.
The play isn’t with out its faults. There may be a lot needed motion that Georgiana’s budding management talents should face, and her brother actually doesn’t wish to see her harm. His progress could be forgiven in terms of supporting Georgiana’s music goals, however the play’s incapability to un-ring that misogyny bell lets Fitzwilliam off the hook just a little too simply.
When Georgiana lastly finds her voice by her instrument, and thunders that energy towards male dominated societies that wish to maintain her down, it has an affect. Telling her brother “I think you fear me,” is a robust sentiment, and a reminder that when Georgiana writes her compositions, it doesn’t matter that she is a lady or a person. Frankly, she was simply higher than everybody else.
‘GEORGIANA AND KITTY: CHRISTMAS AT PEMBERLEY’
By Lauren Gunderson and Margot Melcon, introduced by TheatreWorks Silicon Valley
Via: Dec. 28
The place: Lucie Stern Theatre, 1305 Middlefield Street, Palo Alto
Working time: 2 hours, quarter-hour with an intermission
Tickets: $34-$115; theatreworks.org
