REVIEW
✭✭✭✭✭ 5/5
Pride & Prejudice*(*sort of)
Chelmsford Theatre
Chelmsford
Friday 11 September 2026 and runs until Saturday 19 September
Tickets are available at www.chelmsfordtheatre.co.uk/events/pride-prejudice-sort-of
✭✭✭✭✭ 5/5
Pride & Prejudice*(*sort of)
Chelmsford Theatre
Chelmsford
Friday 11 September 2026 and runs until Saturday 19 September
Tickets are available at www.chelmsfordtheatre.co.uk/events/pride-prejudice-sort-of
When I first opened the email inviting me to the opening night of Pride & Prejudice*(*sort of), I didn’t quite register the bracketed ‘sort of’ and instantly assumed this would be a traditional take on the beloved Jane Austen novel. Like so many people, however, I was already familiar with several plot points and, thanks to the popularity of Bridget Jones's Diary, the iconic character of Mr Darcy.
Because I had never experienced Pride and Prejudice in its original written form, on screen, or on stage, I was somewhat intrigued to discover what makes this story so popular so long after its initial publication. After all, there have been numerous film and theatre adaptations over the years, some remaining faithful to Jane Austen’s original novel, whilst others have taken a more creative licence. Pride & Prejudice*(*sort of) I can confirm belongs in the latter category.
From what I could tell, with limited knowledge of the original story, the play remains somewhat faithful to the structure of Austen's novel but interweaves modern elements to create a fresh reimagining of the classic story.
Whilst the action takes place in Regency-era Britain, which is brilliantly encapsulated in the impressive stage design and costumes. The inclusion of more physical comedy, pop music performances and current cultural references which are thrown unapologetically into the mix, transforming a familiar narrative into something completely unexpected.
The juxtaposition of Jane Austen's world, with the modern sensibilities really shouldn’t work, but thanks to the synergy of Isobel McArthur's clever writing, energetic performances and inventive comedy, the combination works exceptionally well. From the opening scene, timelines are blurred and the fourth wall is instantly broken, making it clear to the audience that historical inaccuracies should be ignored. As a result, they are encouraged not to question continuity too closely, but instead to simply enjoy the show.
Whilst the play is driven by the music and comedy, it still manages to create some genuine drama through its more endearing moments, of troubled relationships and emotional turmoil. However, even the more serious scenes are cleverly turned on their head, which will leave you feeling sad one moment, before laughing out loud the next. Rather than feeling forced or farcically interjected, the comedy emerges naturally from the situations, although the cast's animated facial expressions and energetic mannerisms undoubtedly enhance the humour, which help to showcase the creativity that lies at the heart of the production.
What makes the show so impressive is that, despite an all-female cast of just five performers, there always seems to be so much happening on stage. One moment your attention is drawn to two characters sharing a glance, unsure of their feelings for each other, only for it to be diverted simultaneously by another cast member energetically acting out events in the background. Sometimes these moments complement the action in the foreground, while other times they create their own miniature scenes, adding another layer of comedy. There is never a dull moment, and with so much going on, you feel as though you want to watch it again, just to see what you may have missed.
The cast of five were exceptional, and to say they merely excelled in their roles would be a considerable understatement. Making that achievement even more impressive was the fact that Grace Farrell had stepped into the production at short notice, yet there was never any sense of disruption or imbalance within the ensemble. Together with Georgia May Firth, Roxanne Morgan, Julia Murray and Phoebe Marshall, they formed a remarkably strong company whose chemistry and energy never wavered throughout the evening.
With a multitude of quick costume changes, several distinctive personalities and an array of regional accents, their constant transformations from one character to another made it feel as though you were watching several performers for each role, rather than it being shared amongst the five actors on stage.
Normally with a play, especially one with so few actors, it is easy to single out specific performances or characters that stood out. However, due to the strength of the cast and the varying personalities that they brought to their roles, I found it impossible to choose a standout individual. With this in mind, it was nice to see the performers share a collective bow at the end. I could genuinely not choose a lead as I felt they all equally shared the stage and every one of them excelled in their performance. The standing ovation that followed was thoroughly deserved, and judging by the reaction of those around me, I was certainly not alone in leaving the theatre impressed.
One of my favourite aspects of the production is the way the cast fully embraces every character they portray, especially the male roles. They really seemed to embellish the opportunity to create the exaggerated characterisation of their alter egos to great comical effect; whether it be through smouldering looks, loose-limbs or an exaggerated swagger. With that being said, I never felt the performances went too far as to let their characters become outright caricatures. Instead, these mannerisms remain an integral part of the show's infectious humour.
Whilst I would ordinarily offer a rundown of the various characters, I think part of the fun of Pride & Prejudice*(*sort of) is discovering what other characters the performers will become, as it is far more entertaining to discover the characters emerge throughout the performance.
In the play we are presented with a list of the attributes which define an accomplished woman, as seen through Austen's eyes at the time. Whilst I cannot confirm whether the cast of Pride & Prejudice*(*sort of) would have met all of these standards, they have proven themselves to be impressive multifaceted performers. Not only do they act, sing and dance throughout the show, which they do with high energy and exceptional comic timing, they also play a variety of instruments. Whilst this may not seem unusual, the use of instruments is cleverly incorporated as part of the scene and often elevates the comedy.
Whilst not a full on musical, the show incorporates a collection of classic pop songs throughout. These are cleverly incorporated to reflect the emotional themes of the scene through an impromptu musical number, or the character’s participation in karaoke. As you can tell, this is just one of the modern artistic liberties the show uses to emphasise emotional moments or create additional comic effect. The popular choice of songs will be familiar to most, and whilst it sounds out of place, it really does add an extra layer to the moment and showcases once again the talented cast.
Whilst I went into the show unaware of what to expect, the combination of the poster and synopsis suggested that this would probably be a more farcical take on Jane Austen's classic novel. What Pride & Prejudice*(*sort of) does actually deliver is something far more inventive and self-aware in its execution.
A bold retelling, with a formidable all female cast. Pride & Prejudice*(*sort of) remains loyal to the original source material, whilst offering something original. Set in the Austen era, the story is updated with modern sensibilities, classic pop songs and laugh-out-loud comedy.
Pride & Prejudice*(*sort of) exceeded my expectations as my favourite production of the year so far (apologies to Into the Woods which was top). It is on a limited run at The Chelmsford Theatre and is one show you do not want to miss.
REVIEW: PHILIP ROGERS
Because I had never experienced Pride and Prejudice in its original written form, on screen, or on stage, I was somewhat intrigued to discover what makes this story so popular so long after its initial publication. After all, there have been numerous film and theatre adaptations over the years, some remaining faithful to Jane Austen’s original novel, whilst others have taken a more creative licence. Pride & Prejudice*(*sort of) I can confirm belongs in the latter category.
From what I could tell, with limited knowledge of the original story, the play remains somewhat faithful to the structure of Austen's novel but interweaves modern elements to create a fresh reimagining of the classic story.
Whilst the action takes place in Regency-era Britain, which is brilliantly encapsulated in the impressive stage design and costumes. The inclusion of more physical comedy, pop music performances and current cultural references which are thrown unapologetically into the mix, transforming a familiar narrative into something completely unexpected.
The juxtaposition of Jane Austen's world, with the modern sensibilities really shouldn’t work, but thanks to the synergy of Isobel McArthur's clever writing, energetic performances and inventive comedy, the combination works exceptionally well. From the opening scene, timelines are blurred and the fourth wall is instantly broken, making it clear to the audience that historical inaccuracies should be ignored. As a result, they are encouraged not to question continuity too closely, but instead to simply enjoy the show.
Whilst the play is driven by the music and comedy, it still manages to create some genuine drama through its more endearing moments, of troubled relationships and emotional turmoil. However, even the more serious scenes are cleverly turned on their head, which will leave you feeling sad one moment, before laughing out loud the next. Rather than feeling forced or farcically interjected, the comedy emerges naturally from the situations, although the cast's animated facial expressions and energetic mannerisms undoubtedly enhance the humour, which help to showcase the creativity that lies at the heart of the production.
What makes the show so impressive is that, despite an all-female cast of just five performers, there always seems to be so much happening on stage. One moment your attention is drawn to two characters sharing a glance, unsure of their feelings for each other, only for it to be diverted simultaneously by another cast member energetically acting out events in the background. Sometimes these moments complement the action in the foreground, while other times they create their own miniature scenes, adding another layer of comedy. There is never a dull moment, and with so much going on, you feel as though you want to watch it again, just to see what you may have missed.
The cast of five were exceptional, and to say they merely excelled in their roles would be a considerable understatement. Making that achievement even more impressive was the fact that Grace Farrell had stepped into the production at short notice, yet there was never any sense of disruption or imbalance within the ensemble. Together with Georgia May Firth, Roxanne Morgan, Julia Murray and Phoebe Marshall, they formed a remarkably strong company whose chemistry and energy never wavered throughout the evening.
With a multitude of quick costume changes, several distinctive personalities and an array of regional accents, their constant transformations from one character to another made it feel as though you were watching several performers for each role, rather than it being shared amongst the five actors on stage.
Normally with a play, especially one with so few actors, it is easy to single out specific performances or characters that stood out. However, due to the strength of the cast and the varying personalities that they brought to their roles, I found it impossible to choose a standout individual. With this in mind, it was nice to see the performers share a collective bow at the end. I could genuinely not choose a lead as I felt they all equally shared the stage and every one of them excelled in their performance. The standing ovation that followed was thoroughly deserved, and judging by the reaction of those around me, I was certainly not alone in leaving the theatre impressed.
One of my favourite aspects of the production is the way the cast fully embraces every character they portray, especially the male roles. They really seemed to embellish the opportunity to create the exaggerated characterisation of their alter egos to great comical effect; whether it be through smouldering looks, loose-limbs or an exaggerated swagger. With that being said, I never felt the performances went too far as to let their characters become outright caricatures. Instead, these mannerisms remain an integral part of the show's infectious humour.
Whilst I would ordinarily offer a rundown of the various characters, I think part of the fun of Pride & Prejudice*(*sort of) is discovering what other characters the performers will become, as it is far more entertaining to discover the characters emerge throughout the performance.
In the play we are presented with a list of the attributes which define an accomplished woman, as seen through Austen's eyes at the time. Whilst I cannot confirm whether the cast of Pride & Prejudice*(*sort of) would have met all of these standards, they have proven themselves to be impressive multifaceted performers. Not only do they act, sing and dance throughout the show, which they do with high energy and exceptional comic timing, they also play a variety of instruments. Whilst this may not seem unusual, the use of instruments is cleverly incorporated as part of the scene and often elevates the comedy.
Whilst not a full on musical, the show incorporates a collection of classic pop songs throughout. These are cleverly incorporated to reflect the emotional themes of the scene through an impromptu musical number, or the character’s participation in karaoke. As you can tell, this is just one of the modern artistic liberties the show uses to emphasise emotional moments or create additional comic effect. The popular choice of songs will be familiar to most, and whilst it sounds out of place, it really does add an extra layer to the moment and showcases once again the talented cast.
Whilst I went into the show unaware of what to expect, the combination of the poster and synopsis suggested that this would probably be a more farcical take on Jane Austen's classic novel. What Pride & Prejudice*(*sort of) does actually deliver is something far more inventive and self-aware in its execution.
A bold retelling, with a formidable all female cast. Pride & Prejudice*(*sort of) remains loyal to the original source material, whilst offering something original. Set in the Austen era, the story is updated with modern sensibilities, classic pop songs and laugh-out-loud comedy.
Pride & Prejudice*(*sort of) exceeded my expectations as my favourite production of the year so far (apologies to Into the Woods which was top). It is on a limited run at The Chelmsford Theatre and is one show you do not want to miss.
REVIEW: PHILIP ROGERS
Irreverent Pride & Prejudice retelling fuels ongoing ‘Austen-mania’
Written by Isobel McArthur after Jane Austen, Pride and Prejudice* (*sort of) has proven to be one of the most successful touring productions ever. The show is returning to Chelmsford Theatre this week, where it will officially launch its second UK tour.
Written by Isobel McArthur after Jane Austen, Pride and Prejudice* (*sort of) has proven to be one of the most successful touring productions ever. The show is returning to Chelmsford Theatre this week, where it will officially launch its second UK tour.
Men, money and microphones are fought over in this irreverent but affectionate adaptation where the stakes couldn’t be higher when it comes to romance. Featuring an all-female cast, the regency-era comedy sees five young servants dressed in Georgian petticoats, marigolds and Doc Martens retell the classic love story with wit, parody and even karaoke! The show features a string of pop classics including Young Hearts Run Free, Will You Love Me Tomorrow and You’re So Vain.
McArthur’s re-telling of Pride & Prejudice joins a string of recent and upcoming Austen adaptations. New TV and film productions inspired by the author’s beloved novels include the BBC’s recent The Other Bennet Sister, Netflix’s upcoming Pride & Prejudice series and a new film adaptation of Sense & Sensibility. With Austen fever at a high pitch, Pride & Prejudice* (*sort of) offers a unique, funny and audacious refresh of this much-loved classic.
Casting revealed for latest UK tour
As Chelmsford Theatre prepares to welcome the production for rehearsals, the all-female cast for the 2026–27 tour has now been announced. It includes Cheshire girl Georgia Firth, who returns to the cast, this time in the role of Elizabeth Bennet. Eva Hope from Watford will play Jane Bennet, and Lady Catherine de Burgh; while Yorkshire lass, Beverley Roxanne Morgan, will take on the roles of Mary Bennet, Lydia Bennet and Mr Gardiner. From Glasgow, Julia Murray is Mrs Bennet and Fitzwilliam Darcy; and from London, Phoebe Marshall, will play Charlotte Lucas, Charles Bingley and Miss Bingley. Also joining the company as covers will be Emily Cruz, Grace Farrell and Anastasia Sims-Chin.
This new production will be directed by Isobel McArthur, who has won both the Olivier Award and Evening Standard Theatre Award.
A Chelmsford Theatre co-productionPride & Prejudice* (*sort of) is Chelmsford Theatre’s first co-production in recent years. After opening in Chelmsford, it will embark on an eight-month tour visiting venues across the UK, including Liverpool, Belfast, Edinburgh and Blackpool.
Chelmsford Theatre Director, Rhys Thomas, said:
““This hugely exciting collaboration with the renowned David Pugh is a brilliant moment for Chelmsford Theatre. Pride & Prejudice* (*sort of) is a simply marvellous show that charmed our audiences when it first came to Chelmsford in 2024. Now, we’re thrilled to be getting ready to open its latest national tour with a stellar new cast set to grace Chelmsford Theatre’s main stage.”
Rhys Thomas, Chelmsford Theatre Director
Producer, David Pugh, said:
““Pride and Prejudice* (*sort of) has become one of the world's biggest successes, from touring to Canada to just triumphantly opening in Australia and I'm delighted that this new production, which will tour the United Kingdom for the next year, is opening at the Chelmsford Theatre.”
Producer, David Pugh
Pride & Prejudice* (*sort of) opens at Chelmsford Theatre on Friday 11 September 2026 and runs until Saturday 19 September. Tickets are available at www.chelmsfordtheatre.co.uk/events/pride-prejudice-sort-of.
As Chelmsford Theatre prepares to welcome the production for rehearsals, the all-female cast for the 2026–27 tour has now been announced. It includes Cheshire girl Georgia Firth, who returns to the cast, this time in the role of Elizabeth Bennet. Eva Hope from Watford will play Jane Bennet, and Lady Catherine de Burgh; while Yorkshire lass, Beverley Roxanne Morgan, will take on the roles of Mary Bennet, Lydia Bennet and Mr Gardiner. From Glasgow, Julia Murray is Mrs Bennet and Fitzwilliam Darcy; and from London, Phoebe Marshall, will play Charlotte Lucas, Charles Bingley and Miss Bingley. Also joining the company as covers will be Emily Cruz, Grace Farrell and Anastasia Sims-Chin.
This new production will be directed by Isobel McArthur, who has won both the Olivier Award and Evening Standard Theatre Award.
A Chelmsford Theatre co-productionPride & Prejudice* (*sort of) is Chelmsford Theatre’s first co-production in recent years. After opening in Chelmsford, it will embark on an eight-month tour visiting venues across the UK, including Liverpool, Belfast, Edinburgh and Blackpool.
Chelmsford Theatre Director, Rhys Thomas, said:
““This hugely exciting collaboration with the renowned David Pugh is a brilliant moment for Chelmsford Theatre. Pride & Prejudice* (*sort of) is a simply marvellous show that charmed our audiences when it first came to Chelmsford in 2024. Now, we’re thrilled to be getting ready to open its latest national tour with a stellar new cast set to grace Chelmsford Theatre’s main stage.”
Rhys Thomas, Chelmsford Theatre Director
Producer, David Pugh, said:
““Pride and Prejudice* (*sort of) has become one of the world's biggest successes, from touring to Canada to just triumphantly opening in Australia and I'm delighted that this new production, which will tour the United Kingdom for the next year, is opening at the Chelmsford Theatre.”
Producer, David Pugh
Pride & Prejudice* (*sort of) opens at Chelmsford Theatre on Friday 11 September 2026 and runs until Saturday 19 September. Tickets are available at www.chelmsfordtheatre.co.uk/events/pride-prejudice-sort-of.