The Star's critic MARIA DUARTE reviews Sebastian, Four Mothers, Restless, and The Most Precious of Cargoes
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Pride and Prejudice* (*sort of), Leeds Playhouse/Touring
Jane Austen goes pop in raucous rendition of one of her greatest hits
JOHN GREEN explores the argument that psychiatry needs to move away from the idea of just seeing and treating the individual
SYLVIA HIKINS applauds a polemic against “cleanfluencers” and considers radical alternatives to current inequalities of housework
RUTH AYLETT admires the blunt honesty with which a woman’s experience is recorded, but detects the unexamined privilege that underlies it
IAN SINCLAIR draws attention to the powerful role that literature plays in foreseeing the way humanity will deal with climate crisis
High quality pulp, rollicking online murders, Abnorman Britain, and high skates drama: reviews of The Get Off, Everyone In The Group Chat Dies, Pagans and First To Fall
DENNIS BROE notes what happens to content when the streaming giants incorporate AI and deregulation into their economic models
BELOW-STAIRS maids never get placed centre stage, even though there can be no romance without clean sheets and that’s the premise of Glasgow-based Blood of the Young’s adaptation of Pride and Prejudice.
[[{"fid":"20098","view_mode":"inlineright","fields":{"format":"inlineright","field_file_image_alt_text[und][0][value]":"HAVING FUN: The cast of Pride and Prejudice* (*sort of) (Pic: Mihaela Bodlovic)","field_file_image_title_text[und][0][value]":false},"link_text":null,"type":"media","field_deltas":{"1":{"format":"inlineright","field_file_image_alt_text[und][0][value]":"HAVING FUN: The cast of Pride and Prejudice* (*sort of) (Pic: Mihaela Bodlovic)","field_file_image_title_text[und][0][value]":false}},"attributes":{"alt":"HAVING FUN: The cast of Pride and Prejudice* (*sort of) (Pic: Mihaela Bodlovic)","class":"media-element file-inlineright","data-delta":"1"}}]]It’s a slightly misleading framing of Isobel McArthur’s update of Jane Austen’s novel, which only gives superficial attention to the servants. Yet, directed by Paul Brotherston, it’s nonetheless a delightfully raucous production that swaps the book’s ironic politeness for direct, expletive-rich humour.
In this version Mrs Bennet, who needs to marry her daughters into good money in order to stave off destitution, flakes out drunk on the sofa and frantically sucks on an inhaler, while Elizabeth Bennet (Meghan Tyler) and Fitzwilliam Darcy (McArthur) discuss their first meeting to their respective friends in the toilet cubicles at Meryton Ball.
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