Jennifer Le Blanc has a moderately lofty title for her function on the inventive group of TheatreWorks Silicon Valley’s manufacturing of “Georgiana and Kitty: Christmas at Pemberley,” the Jane Austen-inspired play written by Lauren Gunderson and Margot Melcon.
Le Blanc is the “Regency etiquette consultant” on the manufacturing, which opens Dec. 3.
“Isn’t that a great title?” Le Blanc mused.
The title is all about serving to to construct the Austenian world, however when questioned about how she reached such a pedigree, her conclusion is moderately easy.
“I am not a historian and I am not a dramaturg, but what I am is a very nerdy and very curious actor,” Le Blanc mentioned. “In my own acting career, it is probably three-quarters classical work, and I’ve done a ton of Shakespeare, as well as lots of adaptations of Dickens or Jane Austen. I also took ballet for 12 years, which really helps.”
The title is far more than fanciful. Constructing the world of the British Regency period means understanding the span of time from the early 1800s by round 1820. Sharing fantastic particulars of the interval and passing that information to her forged is Le Blanc’s fundamental process. Curtsies, snubs, sleights and habits changing into (or unbecoming) of a Regency lady should cross a sure muster, as a result of the world of the play depends upon dramaturgical accuracy.
Inventive director Giovanna Sardelli, who’s directing the present, leans towards such accuracy however loves the timeliness of Austen’s works, which embrace classics corresponding to “Pride and Prejudice” “Sense and Sensibility” and “Emma.” What provides the tales, and Austen’s characters, such longevity (Austen, who died at 41, may have her 250th birthday celebrated throughout the run) is how coming-of-age tales for younger ladies communicate to all generations.
“She is able to capture the longing in everybody’s spirit–of belonging, being seen, finding love, finding relevance–in such a witty, warm, brave, bold way,” Sardelli mentioned. “I think every generation that encounters her stories sees their families and friends, and themselves, in it.”
An enormous a part of constructing the world is how the play seems, significantly the costuming abilities of longtime designer Cathleen Edwards, whose work spans greater than 5 many years. Edwards loves researching the interval, and coming to grasp how a chunk of clothes or a swatch of cloth will help decide the destiny of a personality and foreshadow an consequence.
“Color has an emotional component, and if you don’t think it does, then you’re being pretty naive,” Edwards mentioned. “You have to look at the emotional component of the character as well as the emotional component of the play, so (color) plays a lot into it.”
Le Blanc connects deeply to how these feelings assist the story and the performances as an entire.
“These things that may feel like quaint old-fashioned behaviors are great acting opportunities,” Le Blanc mentioned. “They are also opportunities to show how one person is feeling about another. In an era where societally, one may not be allowed to (express) emotions, they might express something with a fan.”
For Edwards, even one thing so simple as gloves is loaded with nuance.
“There must be 10 or 12 rules just with wearing gloves,” Edwards mentioned. “A man does not shake a woman’s hand unless they’re wearing gloves because it’s too intimate. You do not eat or drink with gloves on, and yet you are expected to attend a formal dinner and wear gloves to get there.”
Regardless of the numerous guidelines that inform Austen’s world, Sardelli has discovered that Peninsula audiences have come to like the sheer pleasure the writer’s tales deliver to patrons of all generations, particularly throughout the vacation season.
“Audiences seem to confine themselves in the story quite easily,” Sardelli mentioned. “As we continue to diversify the cast, I think it expands the reach. It’s great to look up on stage and say, ‘That’s what I think family looks like.’ That is something that really excites me.”
“Georgiana and Kitty: Christmas at Pemberley” runs Dec. 3-28 on the Lucie Stern Theatre, 1305 Middlefield Highway in Palo Alto. Tickets are $34-$115 at theatreworks.org or 877-662-8978.
