'Sense and Sensibility' at People's Light (second review)

Joseph Hanreddy and J.R. Sullivan's scripts for both Austen works are true to the novels' spirit while condensing their action for the stage and keeping their early 19th-century stories and characters relevant for today's audiences — which seems no easy feat.

The Bechdel test, named for cartoonist Alison Bechdel (Dykes to Watch Out For, Fun Home), evaluates fiction by asking if it features at least two female characters with names talking to each other about something other than a man. Austen's work would seem a massive fail, because negotiating marriage is an important feature in all her major works. Sense and Sensibility follows the tumultuous love lives of sisters Elinor (Cassandra Bissell) and Marianne (Claire Inie-Richards); their matrimonial fates are tied to the fortunes of many other female characters.

However, women outnumber men in the cast and tie in the number of characters (several actors of both sexes play multiple roles), and while most conversations concern marriage, marriage at the time of the action concerned money more than romance. For aristocratic men and women, arranging economically favorable marriages is serious business, and feelings must be governed. Moreover, the story's women are, on the whole, both smarter and wiser than their counterparts; several major male characters are buffoons and liars who earn their comeuppance. The play's most important relationship is the sisters' support for one another.
Thus, while Sense and Sensibility fails the Bechdel test, its frank economic discussions and strong female characters merit some credit.

Quality Austen

I'm not sure many theatergoers want to analyze Sense and Sensibility for its feminist qualities, however. Like most romances, this is a story about finding the right person, and by “right” we mean providing that mysterious spark of affection. “The more I know of the world,” Marianne complains, "the more I am convinced that I shall never see a man I can really love." Hanreddy's production stresses the characters, and a delightful cast of People's Light company members and guests seems very comfortable in Marla Jurglanis's period costumes.

Linda Buchanan's set design falls short, however, surrendering period sumptuousness for fluidity, though the play nevertheless bogs down in Act II's short scenes requiring numerous quick set changes. Her forced-perspective hardwood floor is framed by dull furniture and simple columns and panels providing little variety as the action moves from Sussex to Devonshire, London, and Somerset.

Fortunately, we can enjoy the cast's fine performances. Susan McKey, Teri Lamm, Karen Peakes, and Kevin Bergen excel in two roles each, allowing them to create wildly opposing characters. The biggest treat, though, is Neil Brookshire as polar-opposite brothers Edward and Robert Ferrars, The clarity and depth of all the characters — guests Grant Goodman and Sam Ashdown play the sisters' pursuers, and Mark Lazar and Marcia Saunders charm as down-to-earth neighbors — is a credit to the director, to People's Light & Theatre Company's ensemble approach, and dialect coach Steve Tague.

The fact is that theater "classics" always feature primarily male characters. I hope that Bechdel would make an exception for Jane Austen's perspective.

For Bill Murphy’s review, click here.