Jane McGowan enjoys a night filled with fun, frivolity, and foam…
Venue: Rose Theatre
Dates: 26 February 2022 - 19 March 2022
Purchase a ticket for any Tuesday evening, Wednesday evening or Thursday matinee performance of Persuasion throughout March and get another ticket free, courtesy of the National Lottery.
Simply enter the code ROSEEXTRA at checkout via our website, or quote this if booking over the phone via Box Office.
OUR VERDICT:
As a long-standing fan of Jane Austen, it would never be hard to ‘persuade’ me to watch an adaptation of one of her novels.
However, with the performance opening with a trainer-wearing character lying prostrate on the floor while another mimes badly to some thumping electro-pop, the inevitable sense of dread at the prospect of some ‘reimagined’ post-Bridgerton balderdash sweeps over me.
But within minutes my initial trepidation is on the retreat as the action gets underway and the cast, most of whom play multiple roles, really come into their own.
The story, as with most Austen, centres on true love.
No spoilers here - there will be a happy ending but on the way, at least one or more characters will suffer some romantic mortification, a reduction in circumstance (usually removed from the big house to a life spent awaiting visitors in a cottage in the village), several seismic social events and the church’s role in society will play out via a portentous parson.
In this instance, the action takes place mostly in Bath (with a memorable trip to Lyme Regis) and centres on the Elliot family – led by landowner Mr Elliot who has fallen on harder times and needs to secure marriages for the remaining two of his three daughters Elizabeth and Anne.
The former, played with finesse by Matilda Bailes is fast-approaching 30 and is willing to settle for the highest (or even lowest) bidder. Anne on the other hand (who spends most of the opening scene face down on the floor or pushing people off the set) is not in the least bit interested in love… just why she has reached this decision will, of course, be made clear in due course.
Adapted and directed by Jeff James, the play was first performed at the Royal Exchange in 2017. But since then has been revamped to include some up-to-date tracks that include Cardi B’s WAP (you have to be there), nods to Kim Kardashian (again seeing is believing), and the aforementioned Bridgerton.
The sparse set features a crossed platform, a heavy-duty plastic curtain, and a large bucket of bubbles. But it works. While the high-energy soundtrack and over-enthusiastic dancing ensure the plot fizzes along.
The ensemble is a delight – each embodying their dual roles with aplomb.
Only Sasha Frost as protagonists Anne and Fred Fergus as Captain Wentworth remain as single characters and their romance is feverishly played out amid misjudged advice, missed signals, and bad-timing as they move from petulance and mistrust to understanding and acceptance.
This is a great production if, like me, you are a fan or like my daughter who has now been inspired to read the original. I only hope the lack of Lycra and four-letter lyrics will not put her off.
