Monday, 6 July 2026

Pride & Prejudice (sort of) REVIEW 23 June 2026 ****

THEATRE

Pride & Prejudice (sort of) written by Isobel McArthur after Jane Austen

At Athenaeum Theatre, until 17 July 2026

Reviewer: Kate Herbert

Stars: ****(4)

This review is  published only on this blog. I’ll present a radio review on Arts Weekly on 3MBS on Sat 4 July 2026. KH

Ruby Shannon, Kaori Maeda-Judge Amy Lehpamer, Zoe Ioannou, Teo Vergara- Credit Matthew Chen

 

Pride & Prejudice (sort of), written by Isobel McArthur, is exactly what it says on the box: it’s sort of Jane Austen‘s novel, Pride and Prejudice, but with a twist!

 

The tale of Elizabeth (Lizzie) Bennet, her family and their various romantic exploits, including Mr Darcy (Remember Colin Firth in the lake? Or did you miss the ‘90s?), is told by maid servants from the various houses, large and small. They act as narrators of both the reliable and unreliable sort.

 

These perky, observant, all-singing and all-dancing maidservants swiftly toss on and off pieces of costume to populate the stage with multiple daffy, broad and comedic characters from Austen’s novel.

 

This show, deftly directed by Simon Harvey with choreography by Simone Sault, is a jolly parody with lots of familiar 20th and 21st century pop songs that haul Austen’s story into the present.

 

McArthur’s writing is clever, witty and deeply embedded in Austen’s narrative, characters and themes, but its focus is on how absurd these gentry and nobles appear to their servants and to us.

 

We meet their versions of not only Lizzie, but also Jane, Lydia and Mary Bennet, Mr Darcy, Charles Bingley and his sister Caroline, Mrs Bennet and even the taciturn Mr Bennet who is represented by glimpse of a newspaper in an upstage armchair.

 

This multi-talented ensemble delivers a rollicking performance. Amy Lehpamer is remarkable in multiple roles, playing each distinctly different character with precision, impeccable comic timing and fine vocal technique that she modulates to match each character: servant or noble, man or woman. She is audacious as Tilly the maid, daffy as Mr. Bingley and, as his sister Caroline, is toffy-nosed and absurdly seductive. But it is a joy to behold her depiction of the homely Charlotte Lucas as love-sick for Lizzie.

 

Teo Volgara is bold and vivacious as Lizzie while Ruby Shannon is hilarious as the over-dressed Mary who has a burning desire to sing – badly!  Zoe Ioannon’s Mrs Bennet is brash and foul-mouthed, while her Darcy is suitably stitched up and tongue-tied. Kaori Maeda Judge’s Jane is comically needy, and she portrays Lady Catherine de Burgh as pompous and overbearing.

 

Pride & Prejudice (sort of) is a fat-moving parody that will entertain everyone. However, if you know Austen, it wil delight you even more – unless you’re a toffy-nosed literary snob!

 

By Kate Herbert

 

Cast
Amy Lehpamer – Tilly, Mr. Bingley, Caroline Bingley, Charlotte Lucas

Kaori Maeda Judge – Jane, Lady Catherine

Ruby Shannon – Lydia, Mary, Mr Collins

Teo Volgara – Elizabeth (Lizzy) Bennet

Zoe Ioannon – Mother, Mr Darcy

 

Creative Team

Written By Isobel McArthur after Jane Austen

Writer - Isobel McArthur

Director – Simon Harvey

Ass Direction & Choreography – Simone Sault

Set & Costume Design – Ana Inez Jabares-Pita

Lighting Design – Jason Bovaird

Original Composition /Sound Design – Michel John McCarthy

Musical Direction – Kohan van Sambeeck

Sound Design - Marcello lo Ricco

 

 


Amy Lehpamer  _ Credit Matthew Chen 


 

 

 

 

 

Losing Face REVIEW 26 June 2026 *** (3)

THEATRE

Losing Face Written by Marieke Hardy, by Melbourne Theatre Company

At Southbank Theatre, Sumner, until 25 July 2026

Reviewer: Kate Herbert

Stars: *** (3)

This review is published only on this blog. I’ll present a radio review on Arts Weekly on 3MBS on Sa 4 July 2026. KH

Christie Whelan Browne, Genevieve Morris, Michala Banas, Madeleine Sami. Photo by Pia Johnson

 

In Marieke Hardy’s black comedy, Losing Face, directed by Leticia Cáceres, three 50-year-old women who were friends at uni, reunite after 5 years and find each other much changed.

 

This topical play taps into the “zeitgeist”, raising questions about our society’s obsession with youth and the view of ageing as shameful. We are bombarded with ways to stay youthful: Looksmaxxing, body renovation, anti-aging products, lying about one’s age, congratulating those who look younger than their age, and cosmetic treatment versus surgical intervention.

 

 Age is considered unacceptable. Older women become invisible. To deal with this, women  – and now, some men ­– succumb to myriad pressures to beautify and youthify. (Yes, I know it’s not a word!)

 

Jo (Michala Banas), the still-single, free spirit of the trio, plans the reunion to celebrate her 50th birthday. She has led a bohemian gypsy life but, in her current role as a free-lance travel writer, she wangles a free, long weekend for the three friends to a wellness spa called The Royal You.

 

It is run by a smug, self-styled beauty guru, Tomas (Wil King), who It turns out to be far more than a wellness centre or beauty facility.

 

Lauren (Christie Whelan-Browne) is a latter-day hippy living with her husband and two difficult kids in oh-so-cool, rural Castlemaine (aka North Northcote). Lauren is the former wild thing of the three; a recovering booze and drug hound who denies all memory of her youthful, drunken and drugged escapades.

 

Simone (Madeleine Sami) is brusque, brittle and carrying resentment that Lauren missed Simone’s father’s funeral – just because she had two babies! These days, Simone is about to marry a 20-something woman and is trying way too hard to be younger than her 50 years.

 

Desperate to relive their youth and despite the impending early start to their wellness day the following morning, Jo convinces her pals to go to a bar and to do some drugs, like they used to do.

 

The following morning, they all wind up making disastrous “beautifying” and “anti-aging” choices when they’re hungover and still whacked; they get more than they bargained for from Tomas.

 

This arrogant, vain, camp, flamboyant, self-absorbed man who behaves like a minor deity, manages to somehow to remain unregulated by laws relating to the beauty therapy and cosmetic surgery industry.

 

His nurse and acolyte (Genevieve Morris), obeys his bizarre orders unquestioningly, but the ending reveals how she’s been used and abused.

 

Losing Face starts well with the trio’s complex relationships and their shared history being revealed. However, it loses its way when it goes beyond absurd, black comedy into the hysterical and ridiculous.

 

Losing Face is a black comedy that might be better served by a shorter script. It is a short play disguised as a long one.

 

By Kate Herbert

 

CAST

Jo Michala Banas
Tomas Wil King
Nurse/Competitive Guest Genevieve Morris
Simone Madeleine Sami
Lauren Christie Whelan Browne

 

CREATIVE TEAM

Director Leticia Cáceres
Set & Costume Designer Jo Briscoe
Lighting Designer Amelia Lever-Davidson
Composer & Sound Designer Kelly Ryall
AV Designer Justin Gardam
Movement Director Hayden Spencer
Assistant Director Laura McKenzie
Dialect Coach for Wil King as Tomas Geraldine Cook-Dafner
Voice & Text Coach Matt Furlani
Choreographer Wil King

 

 

 

 

RADIO REVIEWS Arts Weekly 3MBS SAT 4 JULY 2026


In this radio review spot on Arts Weekly on Saturday 6 July 2026, I talk with Nick Tolhurst about two shows I’ve seen recently: Pride & Prejudice (sort of) by Isobel McArthur, and Losing Face by Marieke Hardy at MTC. 4mins 30 (It was short!)

 

Just click this link: 

Kate H Arts Weekly 6July2026