Pride & Prejudice, Part 2: Napoleon at Pemberly - Westport Country Playhouse

The world premiere of Ken Ludwig’s Pride & Prejudice, Part 2:  Napoleon at Pemberly, is disappointing.  All the main characters from Jane Austen’s Pride & Prejudice are back, but the premise – Napoleon is being sequestered at the Darcy estate until the British government escorts him into exile at Elba – is underwhelming.  Fortunately, the production has the good fortune of having Reg Rogers cast as the deposed French general.  The seasoned actor, while not saving the show, is a pure delight ordering people around or being indifferent to the denizens at Pemberly, or flattering the lady folk.  Kristine Nielsen’s Lady Catherine de Bourgh is also a commanding and comedic presence.  Her squabbles with Napoleon are highly entertaining.  Sadly, their tiffs are few and far between.

The cast of Pride & Prejudice, Part 2:  Napoleon at Pemberly.  Photo by Carol Rosegg.

Lugwig, known for his farces Lend Me a Tenor and Moon Over Buffalo, as well as his mysteries, keeps the plot more straightforward, with the occasional door slam or abrupt exit.  We find Elizabeth and Darcy one-year into their marriage.  She’s bored.  He’s focused on his work.  When the opportunity to house Napoleon comes forth, Elizabeth jumps at the opportunity, which greatly displeases her husband.  Nevertheless, he arrives as do other characters from the book – Lydia Wickham, Anne de Bourgh, Mr. Collins – along with a Lieutenant Melville and Major Hudson Lowe.  There is much consternation among the group in regards to Napoleon.  There are romances and even a ball that is planned.  My issue with the play the story just moves along, not really amounting to anything of significance.  Characters, such as Mr. Collins and Major Hudson Lowe, both played by the actor Carson Elrod, pontificate and are boorish.  Towards the end of the play, there’s a grand rescue and a shooting to spice up the production, but, again, it doesn’t amount to much drama or comedy.

Kristine Nielsen and Reg Rogers in Pride & Prejudice, Part 2:  Napoleon at Pemberly.  Photo by Carol Rose

Playwright Ken Ludwig is a master at conjuring up unpredictability for his original works.  The issue here is taking the known quantity of Pride & Prejudice and attempting to weave in story complications and intricacies, which is much harder to realize.

 

Director Emily Mann has the cast constantly on the move, coming in and out of scenes, in an attempt to spark some excitement in the production.  However, besides a lot of ranting and boisterous exclamations from characters, there is not much to be enthusiastic about.

Delphi Borich and Tony Roach in Pride & Prejudice, Part 2:  Napoleon at Pemberly.  Photo by Carol Rose
 

The cast is game for the playfulness, mischievousness, and plot twists within the play.  In addition to Rees and Nielsen, Delphi Borich imbues Elizabeth Darcy with a spirited and esprit de corps.  Tony Roach’s Darcy, handsome and somewhat aloof, comes across as a more secondary character.  Carson Elrod, in his dual role of Mr. Collins and Major Hudson Lowe is too bombastic and maddening.  Lucy Austin's Lydia Wickham is too churlish and discordant.

 

Beowulf Boritt's English Regency period Scenic Design is beautifully rendered.  Coupled with Jennifer von Mayrhauser's Costume Design, the show looks great.

 

Pride & Prejudice, Part 2:  Napoleon at Pemberly, playing at the Westport Country Playhouse through 7.  Click here dates, times, and ticket information.

 

Beautiful - The Carole King Musical - A.C.T. of CT

Beautiful – The Carole King Musical, playing at A.C.T. of CT through November 22, is an entertaining blend of charm, nostalgia, and showmanship.  The  production’s overall feel and musicality will resonate greatly with a generation of baby boomers (as well as younger audiences).  Julia Bain who plays the pop icon, gives an impressive performance for her embodiment of the singer-songwriter.  The show, unlike many jukebox musicals, has a mostly compelling book (think Jersey Boys), that traces the artist’s formative years in the music industry, from a bashful, yet assertive 17 year old, through the defining moment of her career, the release of her solo album, "Tapestry," still one of the biggest selling albums in music history with over 25 million sold.  The story of Beautiful is not always uplifting as King deals with an early marriage, divorce, single parenthood, and a crisis of confidence during these years.

 

King, alone and with then husband Gerry Goffin, penned dozens of hit songs, which form the basis for much of the show’s score.  They include their first number one record, “Will You Love Me Tomorrow” for the Shirelles, “Some Kind of Wonderful,” “Up on the Roof,” “The Locomotion,” and a generous helping of songs from the landmark LP “Tapestry.”

 

But while this is a musical spotlighting Carole King, book writer Douglas McGrath has smartly woven into the mix the friendly, playful, and competitive esprit de corps Goffin and King had with songwriters Cynthia Weil and Barry Mann.  This allows for a generous dollop of their hits which include “Walking in the Rain,” “On Broadway,” and “You’ve Lost That Lovin’ Feeling,” (the most played song of the 20th century). 

 

While the book provides a cohesive plot and allows for a firmly developed point-counterpoint between the songwriting teams, the overall results for Beautiful can be problematic, primarily, because McGrath has so much material to choose from.  The question boils down to what to include/condense/omit within the roughly twenty-year time frame of the musical.  This allows, for example, only glimpses into the creative process where, even occasionally, a more expansive exploration would have been satisfying. 

 

The four actors portraying the two song writing teams are engaging and appealing individually and as a group.  Julia Bain’s portrayal of the legendary singer brings out King’s vulnerability, charm, and chutzpah.  Her smile, from the very first notes of the show, to its rousing finale, lights up the stage.  Jake Goz gives Gerry Goffin a brash and self-confident air, at first, but then effectively changes direction as he is consumed by insecurities and self-doubt.   Mary Grace Humphries is self-assured and vibrant as Carolyn Weil while Barrett Riggins adds a fine comic touch as the composer Barry Mann.

 

Director/Choreographer Parker Esse adroitly guides the production, skillfully presenting the abridged version of King’s early career.    The pacing is quick, with swift scene changes never allowing for tedium to set in.  He is at his best when working with the songwriters either in tandem or all together. His incorporation of musical acts, performing some of the show’s dozens of hits are well-done with syncopated choreographed numbers.  

 

David Goldstein and Matthew Herman’s multi-level modular set, lit with bright neon colors by Charlie Morrison, give a 60’s, early 70’s vibe as in the TV shows Shindig and Hullabaloo.  The Scenic Designers, in a nod to those vinyl years, have hundreds of LPs neatly stacked on backstage shelving.  Tammy Spencer’s flashy Costume Designs and Catherine Petty Rogers’ Wig Designs marvelously recreate the looks of the era.

 

Beautiful – The Carole King Musical, a highly pleasing trip down memory lane.   Playing at A.C.T. of CT through November 22.  Click here dates, times, and ticket information.