As of: March 26, 2024, 5:04 p.m
By: Susanne Greiner
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Caught in emotional tinsel – in style in rubber boots in front of a cake stand: Emma Schoepe as Elisabeth in “Pride and Prejudice* (*or something)”.
© Greiner
Shrill, fast-paced, loud: characteristics that you don't necessarily ascribe to Jane Austen's protagonists.
In Isobel McArthur's 'musical' version of "Pride and Prejudice" the characters are exactly that: shrill, fast-paced, loud.
Landsberg - Anyone expecting the dreamy, gentle hills of Hertfordshire on this evening at the theater is in for a real shock: after a few seconds, the actresses (yes, exclusively, they are only women) belt out “Total Eclipse of the Heart” - with all the 80s-ness. The fervor that Bonny Tyler put into the bombastic schmaltz hit.
But it’s not Jane Austen’s “Pride and Prejudice” that the Landestheater Tübingen is showing.
But the version by Isobel McArthur – with the “(*or something)” in the appendix.
Bursting with emotions: In “Pride and Prejudice* (*or something)” you sing yourself freely
McArthur gives a voice to those who are only marginal characters in Austen's novels: the maids.
They tell.
“Voice” is to be taken literally: the five actresses who take on the roles of the five sisters – and everyone else – in the play sing.
Constant.
Fervently.
(We secretly wonder if Isobel McArthur might be a fan of the Buffy episode "Once more, with Feeling"...)
McArthur's Guide: In Austen's novel, feelings are repressed.
“Happiness in marriage is a matter of chance,” is one of the famous quotes for good reason.
But feelings have to come out at some point.
And that's why the characters 'burst' with emotions - and there are many of them.
At the beginning there is a brief uneasy feeling: Well, this might be a bit too much in the long run, right?
No: Dominik Günther's fast-paced direction captivates the audience - and makes them laugh.
Especially when the three-piece boxwood combo sings, there is no stopping the audience.
We also want to show emotions freely from time to time.
“Fuck you, Mr Darcy!”
This is incredibly fun.
And it works because, for example, Emma Schoepe as the clever Elisabeth seems so 'normal' in contrast to Rosalba Salomon, who brings the 'grimace queen' Mary with devotion to the stage.
Even Schoepe is allowed to shout “Fuck you, Mr. Darcy!” in emotional overload – adorable!
Insa Jebens is also convincing as the completely absurd Miss Bingley, Franziska Beyers is Lady Catherine de Bourgh (yep, they sing “Lady in Red”) - and Susanne Weckerle creates a calming atmosphere in all the exuberance as Mr. Darcy and Bennet's mother.
The stage design (Sandra Fox, who is also responsible for the beautifully flashy costumes) is bursting with ideas.
A large frame becomes a 'screen' on which the song lyrics run along, like in karaoke.
As props a few trees in pots, garden furniture, a noble vase from some dynasty.
Otherwise: nothing.
Because just as the actresses become trees, they can also become grandfather clocks - conveniently, the feather duster becomes a pendulum.
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Could the whole thing have been shortened a bit?
Yes, yes.
It takes at least three hours.
Do we have to do Austen like that these days?
Certainly not.
But you can.
And it's so much fun for the whole three hours.
Therefore our conclusion: Sigh!
The LTTT was in Landsberg just two weeks ago with “Endstation Sehnsucht” - here is the review.