An ideal winter warmer, hit UK comedy Pride and Prejudice* (*sort of) makes its Australian premiere in sturdy form, with a terrific triple-threat local cast earning a cavalcade of laughs. 

Penned by Isobel McArthur, after Jane Austen, 2018 comedy Pride and Prejudice* (*sort of) played the West End in 2021, winning the 2022 Olivier Award for Best Entertainment or Comedy Play, and has already enjoyed three UK tours. 

Love for the timeless works of Austen shows no signs of abating, with a new Pride and Prejudice arriving imminently on Netflix and a new film of Sense and Sensibility on the way. Pride and Prejudice spin-off The Other Bennett Sister broke records for the BBC earlier this year, and local podcast Into the Austenverse has quickly built a well-deserved international following. 

Obviously a keen aficionado of the original work and its many iterations, a key aspect of McArthur’s success with this stage adaptation is her complete respect for the characters and story. Scoring laughs aplenty by folding in modern language and technology, McArthur nonetheless retains a sharp focus on the power of telling the original story. Amidst the broad characterisations and physical comedy, the bad behaviour, secrets, lies, and heady romance stand firm. 

For an audience that has enjoyed Moulin Rouge and & Juliet, Pride and Prejudice* (*sort of) employs a similar jukebox-musical device by shoe-horning in joyful musical selections sung by the characters. A wonderful part of the fun is waiting to see what kitsch pop song will be sampled next. To give but one example, Lizzie sings “The Lady in Red,” a song apparently written by the “nephew” of Lady Catherine de Burgh. 

Performed by a cast of just five, Pride and Prejudice* (*sort of) turns the spotlight, for once, on servants of the time, who tell the story and, hilariously, play all the roles. Under the exacting direction of Simon Harvey, the talented cast juggles physical and verbal comedy with song and dance, each achieving particular success in bringing their suite of characters to life with distinction. Choreographer Simone Sault delivers upbeat dance that flows smoothy and organically from the various characters. 

A wink at the fact that all stately homes are basically the same, original set designer Ana Inés Jabares-Pita fills the stage with a soaring library and sweeping staircase to portray all the scenes. Jabares-Pita’s colourful costume designs allow not just for nifty quick changes but also help the audience keep track of the characters. The work of Jabares-Pita is expertly supported for this production by local costume whiz Isaac Lummis. 

Lighting designer Jason Bovaird wittily supports the concept of updated tech, delivering colourful moving lights, especially for the musical numbers. Sound designer Marcello Lo Ricco reliably balances recorded music, live music, and sung and spoken vocals for a pristine balance, albeit with sound cues just needing a little more tightening. 

While the five performers are extremely well matched, Amy Lehpamer comes to the production with bona fide leading lady status. Lehpamer’s deadpan comic timing is superb, seen at its best in the devilish portrayal of wallflower Charlotte Lucas as being secretly in love with Elizabeth Bennett. Lehpamer also perfectly captures the blind vanity of snobby peacock Caroline Bingley. All this, plus Lehpamer plays violin and piano with ready flair.

Teo Vergara charmingly provides the heart of the story as wilful heroine Elizabeth Bennett. Vergara does not shy from Lizzie’s headstrong propensity to be her own worst enemy, keeping the audience firmly on her side all the way to the hard-won happy ending. 

Zoe Ioannou achieves a stark and highly entertaining contrast between the garrulous Mrs Bennett and the smouldering, if emotionally constipated, Mr Darcy. 

Kaori Maeda-Judge embraces Jane Bennett’s rather insipid status as the pretty daughter, later scoring some wonderful laughs as wicked witch-like Lady Catherine de Burgh. 

Ruby Shannon achieves an extraordinary dual characterisation of the two most contrasting Bennett daughters, beaming with giddy joy as feckless Lydia and clunking about as lovably awkward middle daughter Mary. 

Strong as each performer is in their roles, the full troupe working together achieves a winning dynamic that is even stronger; this synergy is likely to sharpen toward even brighter results as the tour progresses.

Most clearly suited for existing fans of Jane Austen, the delightful comedy of Pride and Prejudice* (*sort of) is fit for a wide audience, and may even score Austen some new fans along the way. 

Pride and Prejudice* (*sort of) plays at Athenaeum Theatre, Melbourne until 11 July 2026. For tickets, click here. 

Pride and Prejudice* (*sort of) plays at Drama Theatre, Sydney Opera House 16 July – 30 August 2026. For tickets, click here. 

Pride and Prejudice* (*sort of) plays at IMB Theatre, IPAC, Wollongong 2 – 13 September 2026. For tickets, click here. 

Pride and Prejudice* (*sort of) plays at Canberra Theatre, Canberra Theatre Centre 16 – 27 September 2026. For tickets, click here. 

Pride and Prejudice* (*sort of) plays at Playhouse, QPAC, Brisbane until 30 September – 11 October 2026. For tickets, click here.

Photos: Matthew Chen