Simon Ward reviews Sense and Sensibility at the Arches Lane Theatre

Nicky Diss has adapted and also directs Jane Austen’s first novel which contrasts the philosophies and attitudes to life of two Dashwood sisters, Elinor (Grace Kelly Miller) and Marianne (Laura Cooper-Jones). Elinor tries hard to ensure that she remains within the constraints of Regency society manners, whereas Marianne is too full of emotion to hold anything back. Elinor is full of good sense; Marianne is overflowing with sensibility. This charming adaptation does not take itself too seriously, and, above all, wants us to have a good time. To that end, there are witty musical numbers (composed and directed by David Knight) to provide background and colour, and a light smattering of audience interaction to make sure we are all engaged.

Five actors play a cavalcade of characters, to such an extent that even the players themselves get muddled up at times, and it has to be said that it can be hard to keep up. We think we may be on solid ground with the single male actor (Thomas Judd), but, no, he will occasionally don a rather fetching skirt and bonnet to play Mrs Jennings. If it is difficult to always remember who is playing whom, the rather labyrinthine plot is also be a little tricky to follow, especially as there are thickets of scheming and misunderstandings to be worked through before we can navigate our way to any kind of happy ending.

The root cause of the problems for the heroines of the piece is precisely their gender. In this world women are entirely dependent on their male relatives for their livelihood. Thus, when Mr Dashwood dies, his wife (Kaysha Woollery) and daughters Elinor, Marianne and little Margaret (Laura Smithers) have to rely on the kindness of their half-brother John (Thomas Judd). But when his scheming and miserly wife Fanny (Laura Smithers again) persuades her rather malleable husband that they really don’t need anything from him at all, the women end up having to fall on the mercies of a kindly cousin Sir John Middleton (Grace Kelly Miller again) and find themselves in a cottage in Devon. It is difficult to see how they can make it back to high society and the world to which they had been accustomed from there.

There is a great deal of authentic Austen dialogue in the piece, which gives a real flavour of the time. The almost claustrophobic intimacy of the two women at the centre of the piece is well drawn, as is the gossip and conniving of neighbours and relatives around them. The blank incomprehension of their travails demonstrated by the menfolk is also telling. This is a small world, but that does not mean that the frustrations, pains and thwarted loves are not deeply felt. The emotional intensity is here, but it is hard to convey the subtleties of Austen’s wit when the work is taken from page to stage. The fun of the piece comes from the incidental pleasures – the endless challenges of never quite having enough people on stage because doubling up can only go so far; the little moments of interaction with audience members having a go. This is a beguiling show that cannot fail to win hearts.

Sense and Sensibility is running at the Arches Lane Theatre, 8 Arches Ln, London SW11 8AB until Sunday 27th September