SOUTH SALT LAKE — “Persuasion” is one of only six novels that luminary 19th century writer Jane Austen wrote in her life. Published after her death, a new adaptation is onstage at Parker Theatre, having been selected in a fan poll on their Facebook page last year.
The Parker Theatre is my favorite local theatre. When friends ask where to look for good entertainment, that’s where I point them. The quality is consistently exceptional, the seats are near the stage, and the ticket prices are agreeable.
Their latest offering, Persuasion, has comedy, romance, and quality acting. The story centers on Anne Elliot, a 27-year old woman whose prime (and romantic prospects) seem to have passed her by (this is 19th century England after all—at 27, she was basically bound for the nunnery). After refusing the handsome but poor Frederick Wentworth at age 20 due to the meddling influence of an older relative, Anne lives in regret and confusion until Wentworth appears unexpectedly in her life years later.
Will they get together in the end? Of course they will. But the bulk of the play revolves around the pain of their previous break-up, and how it keeps the two at arm’s length.
As Anne, actor Madeline Thatcher goes all in, with a dramatic, modern performance that strives to connect with today’s audience. Thatcher displays the dedication one wants in a lead, and the rest of the cast is equally committed to finding humor in their roles, and bridging the gap between the 200 year-old text and 2025 audiences.
Daniel Fredericson cast a commanding shadow as lead hunk, Captain Wentworth. His large frame and strong but approachable looks were perfect for the role, and Fredericson played the part of the strong but emotionally damaged soldier well. McKelle Shaw earned laughs as the eccentric Mary Musgroves, and John Hayes Nielsen gave a strong and believable performance as the antagonistic Mr. Elliot, a man who woos Anne on one hand while harboring secret, selfish motives.
Every actor displayed considerable talent onstage. However, there was room for improvement in cohesion between the actors; at times, the connection between them didn’t always quite click, a likely casualty of the adaptation and archaic language.
While many minor characters are entertainingly portrayed by the cast, several roles like Mary, Henrietta and Louisa Musgroves could use a healthy edit. By the end of the play, their plot lines felt ancillary compared to the drama between Anne and Wentworth, and the interpolations of Mr. Elliot. The play runs 2 hours and 36 minutes with an intermission, which did feel longer than necessary.
James B. Parker’s typically magnificent lighting was a delight for the eyes, with various gobo effects conveying a wide variety of latticed windows on the stage and set. Particularly impressive was his overlapping of window light, effectively portraying the the sun pouring through multiple windows at different angles.
While props and stage design were sparse, Jenni Hohl’s stage direction put actors in extremely close proximity to chairs and tables; at one point, actors even had to turn sideways to funnel through a narrow gap in the furniture. This resulted in several stumbles—an unfortunate distraction, and unnecessary given the fairly large size of the stage.
The production included heavy use of projection on an enormous backdrop, and three panels on the wings (set was also by Parker). A staired platform mid-stage also provided a flexible set piece which was used for a wall, walkway, and various other elements. Scenically, a seaside scene was most effective: with the grey platform forming a seawall and Parker’s projection casting an enchanting vision of Bath, England.
Earth tones dominated Rebecca Fenton’s costume design in Act I, with Anne’s brown pinstripe dress and white apron conveying her morose mental state. Brown, slate grey, maroon, and touches of navy filled the stage, a surprising and welcome departure from the expected pastels indelibly etched in my mind from BBC productions. However, those familiar, warm shades did appear in Act II as Anne and Wentworth move toward inevitable reconciliation.
The production did an admirable job at finding the humor in the text, but milked it a bit much with some performances that edged on large and modern. The acting did feel a wee overdone at times, and David Weeks, who otherwise gave a strong performance as Sir Walter, did have some flubs in Act II. However, overall the talented, capable cast delivered an high level of performance.
While the show included a wide variety of things to enjoy, I felt a bit weary at the end, like I had just seen one short scene after another. This adaptation could use another edit, with more confidence to bid adieu to some of the humor and minor characters’ roles. Sometimes, less is more.
In conclusion, the Parker Theatre’s production of Persuasion will appeal to Austen fans and those curious about this lesser-known novel. While it doesn’t reach the astronomically high bar set by the theatre’s previous Austen adaptations, it provides an evening of quality entertainment with strong performances and stage elements. Plus, it contains this lovely line spoken by Anne (and repeated in the director’s note): “All I will claim for my own sex is that of loving longest when all hope is gone.”