It is a truth universally acknowledged that there is often little persuasion needed for a literary afternoon of Pimm’s or prosecco. In the case of Woodward Productions’ Plied and Prejudice, it’s literature and laughs aplenty as it takes it audience on a raucous adults-only parody romp through Jane Austen’s beloved classic Pride and Prejudice. It’s a premise that does what it says on the tin really, simple enough to follow, which is lucky, given that difficulty in hearing its initial introductory information delivered by actors in traverse stage setup, without microphones, in competition with a ‘Tequila’ soundtrack. Even without clear share of the details, it is soon apparent that at the weekend matinee of my attendance, it is Brigitte Freeme as beloved, bold protagonist Elizabeth Bennett, who will be performing under the influence of some tequila shots, taken initially, at allocated ‘tea’ times and upon the English tea bell ring of two chosen ‘responsible’ audience members.
Although new to the Woodward Productions’ repertoire, it’s a familiar concept. Originating decades ago at the Edinburgh Fringe Festival, the idea is that one actor of an ensemble production performing while plastered. Unlike the iconic Sh!tfaced Shakespeare, which sees the actor in question drinking mostly prior to a show’s start, the humour in this instance at least, comes just as much from intended show aspects, as the unpredictability, outlandish mess and required improvisation arising from the drunken actor’s performance.
There is little sense of sensibility as, under Dash Kruck’s direction, the production’s five talented actors (Brigitte Freeme, Stephen Hirst, Juliette Milne, Tomas Pociluyiko and Chloe Stojanovic) take on the challenge of portraying 20 characters, all while navigating trying not to let Freeme’s drinking derail the show. The chaos starts from the introduction of characters as the scene is set for the coming Netherfield Ball of Mr Bingley, a single twat of a man of large fortune and golden retriever energy, played to over-the-top perfection by Pocilujko. Similarly, Hirst (the salacious Santa of the company’s annual A Very Naughty Christmas outing), engenders many laughs, not just in his role as aloof romantic hero Fitzwilliam Darcy Esquire, but in his rapid switch between the very different Bennet sisters Jane, Mary and Lydia, making a scene where the five actors portray 10 characters an early highlight. And Milne is similarly delightful as the hyperbolic mother of five Mrs Bennet.
Along with heightened performances, the production is enhanced by Penny Challen’s set and costume design, with the Shed’s dynamic splashes of hyper-real colour, hinting as to narrative mentions and dividing the audience into their Derbyshire and Hertfordshire sides of the stage. Clever costuming works in conjunction with this, making the characters appear like paper dolls being adorned with their regency garb. Indeed, the blend between classic literature and modern twists is a theme throughout, woven also into a soundscape (sound design by Brady Watkins) that includes, for example, a recent TikTok remix, and dialogue with almost obligatory Bridgerton mention as an inclusion.
Some level of familiarity with Austen’s original work is of audience benefit to access Matthew Semple’s adaption, especially as, like its novel namesake, so much of the narrative is zipped through by use of letters as a dramatic device, to its appropriately memorable white shirt scene (#ifyouknowyouknow). But who needs Hirst to talk Darcy to us, when we have Pociluyiko’s Bingley and Collins … by far and away the best thing about this over-the-top take on the romance, especially in his literal attachment to the powerful Lady Catherine de Bourgh (Milne). As great comedy so often does, his hold of the audience through initial discomfort beyond the point of absurdity, is skilful it its contribution to the farcical focus at the show’s frivolity.
Like A Very Naughty Christmas innuendo is, likewise, added into the dialogue at every possible opportunity. Things are also mixed up with theatre-sports game type sections of a double-timed conversation delivery, the switching back and forth of roles and interaction with a cue-carded audience member, although such a potpourri of approaches is perhaps unnecessary given how their inclusion sometimes disrupts momentum as much as it adds to the cresendoing chaos.
This is the story of Elizabeth Bennet and Mister Darcy as you’ve never seen it before as all notions of respectable theatre (and British etiquette) are thrown out the door shed! And the addition of a different plied performer for each outing ensures that each show is truly unique, before even its audience interaction and contributions. Convenient at-seat QR codes allow for drink orders to be made during the 90-minute (no interval) show, so that we can toast along with each teatime. And there is much laugh-out-loud fun to be had even for those who aren’t Austen aficionados… as long as they can recognise an iconic Rick Astley lyric.