By Carol Davis
CHULA VISTA, California—As a romantic, (I readily admit it) I welcome a good love story with a happy ending. Somehow or other though, sitting through Jane Austen’s last novel “Persuasion”, as adapted for the stage by Jon Jory and now in a World Premiere production at OnStage Playhouse, the thought came to me that perhaps some novels just don’t translate well or this specific adaptation needs more work and lastly and most importantly this production needs more oomph, less location changes and more depth in character development.
The love story or potential love story between Anne Elliot (a beautiful and regal looking and acting Kym Pappas) and Cpt. Wentworth (an endearing and convincing Christpher Loren Renda) in Persuasion has all the trappings of Austen’s 1816 England where class, money and social mobility are the keys to any woman’s chance of advancing her status in life. That is true especially by what we refer to today as breaking the ‘glass ceiling’ but in those days just a move up; by say marriage, more class and social structure allowed more clout.
Our story picks up eight years after Anne turned down a proposal for marriage from the handsome but broke Wentworth on the advice of her pompous and self centered father Sir Walter Elliot (a self-assured Larry E. Fox) and her friend and confidant Lady Russell (an impressive Kaly McKenna).
Now everyone is scrambling because the good Cpt. Wentworth of the Royal Navy has returned to the Elliot compound complete with fortune in tow, still eligible, still carrying a torch for Anne but still mindful of his long ago rejection. In his world, he is free to do as he pleases; go where he pleases and see whomever he pleases and that includes Louisa and Henrietta Musgrove (Laura Bohlin and Jewell Karinen) two empty headed but upper class and wealthy sisters who would like nothing better than to be in his company.
For Anne, her best effort is in just showing up and being seen even as humiliating as it had to be. Leaving her little to do but put on a stoic face, especially in the first act, is one of Jory’s shortcomings in this production/adaptation. Anne’s character is, after all, one of central importance to the outcome and to leave her almost speechless or limited to a look, or a word or two, is a crime.
As in almost all of Austen’s novels we see women used as pawns by their wealthy relatives or put in their places by their overly zealous fathers or doing battle with sisters to win the hand of the most eligible bachelor or as objects of ridicule by younger siblings. Austen’s stinging observations zero in on the complexities of Anne’s plight by subtly poking fun at the mores, manners and traditions of the world in which she lives.
Jon Jory’s bio is one of the most impressive having directed over 125 plays, and producing a thousand. Included in that long list are several other of Austen’s novels including Emma, Pride and Prejudice, Sense and Sensibility and Darcy and Elizabeth to name a few. No stranger to Austen, it just seemed right for this particular novel to be adapted by him.
Unfortunately however, character development, especially Anne’s. doesn’t click in until act 2 when we get to see the changes in Wentworth’s attitude and even a glimmer of hope in Anne’s eyes, especially after he keeps coming around and dropping little hints to her. Director Carla Nell does yeoman’s work with her no less that 18 members cast, some having but a walk on and two or three lines. No doubt, some of these characters could be left on the cutting floor.
One, who does stand out however is Holly Stephenson as Anne’s always-bitching and bossy sister Mary Elliot. Holly was so effective in OnStage’s last production of Sugar Witch that it is fun to see her. She has a natural stage presence and brings just the right attitude and touch of intended humor to her character, Mary.
While this much opportunity for the South Bay Theatre says a good deal for it, the down side is that the stage, while long and narrow, doesn’t handle all the very short scene changes needed to accommodate this many characters well enough to keep the story coherent or sometimes even relevant. With so many changes, and this includes moving a small table from one side of the stage to the another, or a bench to another angle it’s distracting and doesn’t do much to move the action (or lack thereof) forward.
Mark Robertson’s set does have some nice surprises though including a series of steps or promontories coming out from the back wall that the cast must descend from a day’s outing they all take. This was one of the few times a lighter, less subtle scene took place that put a smile on everyone’s face (after holding our collective breaths hoping no one would fall).
Cara Nell’s sound is effective as the characters go off on a horse-drawn carriage with a galloping sound off in the distance. Carol Whaley’s oft-colorful costumes, varied as they are, signal the period and Chad Oakley’s lighting design needs a but more direction that no doubt will happen over the course of the run.
World premieres seem to be the norm this year in our far city. No doubt, Persuasion will be mounted time and again, hopefully with some crucial changes but still we can boast that we’ve already seen it.
It’s Jane Austen and if that’s your ‘persuasion’, it’s worth a try.
See you at the theatre.
Dates: Through Dec. 22nd
Organization: OnStage Playhouse
Phone: 619-422-7787
Production Type: Drama
Where: 291 Third Ave. Chula Vista
Ticket Prices: $17.00-$23.00
Web: onstageplayhouse.org
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Davis is a San Diego-based theatre critic. She may be contacted at carol.davis@sdjewishworld.com