It is a truth universally acknowledged that a Jane Austen novel will see young women and men engage in an elaborate dance of courtship, misunderstanding, betrayal, recovery and marriage.
Only Nyiri Karakas as Elinor and Amanda Sum as Marianne don’t double. Elinor represents sense: calm, rational, apparently stoic, at least on the outside. Marianne’s passionate, manic sensibility manifests itself in high spirits and, when things go badly, despair. Little sister Margaret is a funny, motor-mouthed dynamo.
Befriended by a cousin and his gossipy mother-in-law , the Dashwood women move into a modest cottage wheretheir suitors: older, stolid Colonel Brandon, lighthearted John Willoughby , and earnest Edward Ferrars , who has his own issues with family.Article content The acting in this ensemble piece is very fine. Karakas plays Elinor with a grounded, serene seriousness that makes the revelation of her repressed passion almost shocking. Sum gives Marianne’s liveliness a nice comic edge. Every actor gets an opportunity at centre stage. In only one instance, a character who appears for a brief scene late in the play, does anyone lapse into over-the-top caricature.
The second act does seem long. The script’s unravelling of the plot complications feels ponderous. By that time the stylistic novelty has worn off, the inevitable end is in sight, and the audience deflates slightly with each new revelation, especially a long, late scene giving the caddish suitor a chance at redemption.
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