For this classic, less is more.
The Annapolis Shakespeare Company’s production of Jane Austen’s first novel, Sense and Sensibility, uses a script nicely streamlined and adapted to the stage by Jon Jory, whose versions of other classics like Pride and Prejudice the company has presented over its brief history. As impressive as the script’s fidelity to the novel is Annapolis Shakespeare’s confidence in its ability to tell a complex story with nary a set piece other than a few chairs and a trunk.
After spending time at the Bowie Playhouse, Annapolis Shakespeare moved into its Chinquapin Round Road facility just a couple of years ago, and began doing its plays there even more recently. By using a less-is-more philosophy — and knowing that solid talent and direction are quite a bit more important to good storytelling than extensive sets and facilities — producing artistic director Sally Boyett nicely adapts to the company’s small, 70-seat space.
In the case of Sense and Sensibility, Boyett gives us the classic story of two young sisters. Elinor is filled with sense and prudence, a level-head. Marianne is filled with sensibility — emotion, romance — and always speaks her mind. Though written in the late 1700s, Austen’s work remains loved, read and performed because she captured ideas and feelings that are essentially timeless.
This story of love, laughter and heartache is brought to us by a cast of actors led by Laura Rocklyn as Marianne Dashwood and Rebecca Swislow as Elinor Dashwood. Rocklyn’s Marianne is a charmer, attracting us via her refusal to hold her tongue as well as the humor of what she says when she does speak. Rocklyn and Swislow work very well together; this is a pair that you can believe are sisters.
They and their widowed mother, played nicely by Sue Struve, are forced to move into a small cottage after their half-brother (the elegant Brian Keith MacDonald) and his wife, played to the hilt of vanity by Renata Plecha, decide that they prefer to take the family estate and force the trio out.
Evicted, they settle in a small cottage in Devonshire, near the home of her cousin John Middleton and his wife, who welcome the three openly, soon introducing them to local society. As Middleton, Richard Pilcher is gregarious and warm, quite the opposite of what they had experienced before being forced out.
But Sense and Sensibility is not so much about society connections as it is about the two girls and the suitors who come calling: Edward Ferrars (Patrick Truhler), whose engagement to another is kept secret but who becomes attracted to Elinor; John Willoughby (James Carpenter), a charmer but a cheater whose engagement to Marianne is presumed by many but never official; and Colonel Brandon (Joel Ottenheimer), a tall, good guy who takes on the charge of the daughter of a woman he loved but was not allowed by family to marry, and who falls in love with Marianne.
All three give us tightly drawn and distinctive characters, each bringing their unique backgrounds to bear on the present, and each revealing to us the chemistry that has formed their affections for the sisters.
As always with Annapolis Shakespeare, costumes are expansive but true to the period, lighting of the small space is imaginative and evocative and Boyett’s choreography of scene changes keeps things moving apace, with each scene blending into the next clearly yet with nary a visual or verbal gap.
In other words, less is more: an intimate setting, top-notch acting, taut direction and high production values are more than enough to bring this classic to life.
Production stage manager: Sara K. Smith. Lighting design: Colin Dieck. Costumes: Kat McKerrow. Dialect coach: Nancy Krebs
Playing thru May 3: FSa 8pm (and 2pm, Sa April 4); Su 3pm: Annapolis Shakespeare Company’s Studio 111, 111 Chinquapin Round Rd., Annapolis; $35 w/discounts; rsvp: 410-415-3513; www.annapolisshakespeare.org.