Kate Hamill weaves the social intrigue and classism of Regency Era England with humor and true feminine strength to make Jane Austen’s classic novel leap off the pages and onto the stage. Hamill, who also wrote an adaption of “Sense and Sensibility,” incorporates high energy, jokes, and emotional depth to bring Elizabeth, Darcy & company to life. Pendragon’s dynamic ensembles will have theatregoers leaving as bonafide Austenites.
Irresistible Theatre! - NY Times
The outspoken Elizabeth Bennet faces mounting pressure from her status-conscious mother to secure a suitable marriage. But is marriage suitable for a woman of Elizabeth’s intelligence and independence? Especially when the irritating, aloof, self-involved…tall, vaguely handsome, mildly amusing, and impossibly aristocratic Mr. Darcy keeps popping up at every turn?! Literature’s greatest tale of latent love has never felt so theatrical, or so full of life, than it does in this effervescent adaptation.
“Hamill…has a gift for condensing three-volume novels into galloping two-act plays. Her screwball PRIDE AND PREJUDICE…is as frolicsome as her earlier efforts. It hasn’t met a rib it can’t tickle.” —NY Times
“The ever-ingenious Hamill has given us something completely and delightfully different, a smallish-cast period-dress PRIDE AND PREJUDICE…adapted with fizzy, festive freedom, Hamill’s [PRIDE AND PREJUDICE] is full of Bringing Up Baby-style slapstick and the kind of barely controlled chaos that you’d expect to see in a five-door Feydeau farce…” —Wall Street Journal.
“…a laugh-out-loud adaptation… Hamill…give[s] Austen’s novel a deliciously antic sensibility… This PRIDE AND PREJUDICE has comedy at its heart, but regarding the treatment of women, it shows us enough unsettling similarities between the 18th century and now to make us pause thoughtfully between laughs.” —TheaterMania.com.
AND IF THAT ISN'T ENOUGH...
“Hamill’s PRIDE AND PREJUDICE has fun and charm to spare… [it] is full of high spirits and genuine mirth… Hamill excels…as a condenser of the story and a conveyer of fun. She cleverly squeezes Austen’s wide-ranging drawing-room comedy into the bodies of eight actors, almost all doubling to delightful and even moving effect.” —NY Mag.
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