It’s the Perfect Time for Perfect Timing in “Sense and Sensibility” at Shakespeare in the Park

Wil Rogers (lighted), Becca Mitchell, Madeline Dannenberg and David Fletcher-Hall. Photo Courtesy of Oklahoma Shakespeare in the Park

Shakespeare in the Park is presenting “Sense and Sensibility,” Jane Austen’s beloved tale of two young sisters attempt to find happiness within the strict confines of moral behavior in 19th century England.  The code of conduct that women in this Victorian era had to adhere to wasn’t always easy.  She had one choice; a good marriage.  That meant a woman had to, within a very few short years, love and inspire love in the richest man she could find.   Of course, many men also needed or wanted to find an heiress, because a true gentlemen could not stoop to earning a living honestly. 

Elinor and Marianne Dashwood are the two sisters of that marriageable age.  After the death of their father, they, along with their Mother and younger sister, Margaret, find themselves in reduced circumstances.  While in mourning, they also find themselves no longer as attractive in a marriage market that defines attractiveness in dollars, while the gossips know exactly the contents of everyone’s purse.  Elinor is sensible, Marianne is sensitive like her mother, and Margaret is adorable. The sister’s search for love and a future is convoluted yet witty. The adaptation of the much beloved novel by Kate Hamill is remarkably well done in giving the characters new life in our modern world.  While the plight of women and the ideas around marriage have certainly changed, one thing remains constant: Money is power and power is survival. “Sense and Sensibility” tells the story of the two sisters’ quest for romance and, as in any romance; the tragedy of the lovelorn can be quite amusing from the outside.  Gossip reigns, and in the days of Jane Austen it came from behind a fluttering fan.  Today it comes from twittering fanfare.  Subtle cruelty, unintentional tragedies and intentional greed are not memories from a distant past, these hurts are relevant.  Nor have we lost the wit required to deal with the ugliness, although we have certainly lost much of the grace so beautifully displayed by Madeline Dannenberg as Elinor and Ashley Frisbee as Marianne.

Shakespeare in the Park has a wonderful space on Paseo although it is not the Proscenium stage that playwrights expect.  The action in the center of the audience is not conducive to a ‘backstage’ area.  Laura Standley directs Hamill’s adaptation with intelligence as well as humor.  She allows Austen’s story to be enhanced by elements from Monty Python, Edward Albee and Eugene Ionesco.  The crew is adept, the actors are talented and both exhibit perfect timing.  It is the perfection of timing in all aspects that makes the show beyond excellent.  It is brilliantly done in all respects.

Dannenberg and Frisbee along with Bianca Bulgarelli as the irrepressible young Margaret Dashwood are cast solely in their roles.  The six remaining ensemble members portray multiple characters, distinctive and defined. These single essential roles are played by gifted actors who are believable and timeless as they are exact.  Dannenberg and Frisbee as the two leading ladies lead the cast affirmatively as well as gracefully.

Becca Mitchell sweetly sips her tea. Photo Courtesy of Oklahoma Shakespeare in the Park

Joseph Burleigh is wonderful as the gentle Mr. Edward Ferrars, Elinor’s love and also his brother Robert, who clearly loves himself.  Occasionally he is just a minor gossip, but as Mrs. Jennings, a major gossip, Burleigh is quickly transformed into the kindly cruel, gentle elderly lady who befriends the sisters. Wil Rogers is, as usual, amazing as he moves from the inconsiderate selfish John Willoughby who thoughtlessly captures the heart of Marianne to the considerate but equally selfish John Dashwood who thoughtfully obeys his greedy wife, rather than his father and his own instincts.  And then he turns around and gossips with abandon.  Tyler Woods is always in absolute command of every character.  He moves gracefully from the awkward Colonel Brandon who is entranced by Marianne to Thomas and then, an equally eloquent gossip himself.  David Fletcher-Hall seems born as each character he portrays, whether it is the Doctor recommending Marianne to be bled with universal medical imperiousness or Sir John Middleton, a very excitable and curious gentleman.  Fletcher-Hall is also a delectable gossip and he takes on the role of a servant.  It is amazing to watch him pay such close attention to developing fully a minor character so that it is fleshed out with substance and a flickering, whickering tail.

Becca Mitchell has a glint of evil in her eyes as she brings the grasping Fanny to fore, and her saccharine Lucy Steele is Austen’s forerunner to the great Dorothy Parker a century in the future.  She is also Lady Middleton and she can certainly gossip with flair.  Lindsey Rollins is the sweet wife of the overly trusting Mr. Dashwood who always thinks much better of people than she should.  But she does so with the maturity of a loving mother.  And then she turns into the incredibly silly sister of Lucy, Miss Anne Steele within the span of a brief breath.  She also gossips with relish and impunity as Eugenia.

Ashley Frisbee as Marianne Dashwood expressively emotes to companions. Photo Courtesy of Oklahoma Shakespeare in the Park

All of these roles are played with absolute attention to the smallest detail as the crew has supplied every detail precisely in place.  The entire play is danced on stage and backstage with impressive choreography by Standley and her Assistant Director, Caprice Woosley.  The technical crew is let by Carl Johns, Technical Director, Elisa Bierschenk, Costume Designer and Jenifer Witcher, Properties Design.  Lydia Brinkman is Dramaturg, and her statement in the program is a good read and her contribution is valuable.  David Fletcher-Hall is dialect coach, giving the entire cast the British flair the characters exhibit so delightfully.  Each crew member deserves the same applause the actors receive as they also performed brilliantly and created an environment that allows the actors to shine.

And shine they will through August 25, 2018 at Shakespeare in the Park, 2920 Paseo.  The Paseo District is quaint with many shops to browse, some excellent restaurants, or coffee shops and such, so parking can be at a premium.  Plan to come early to enjoy the Paseo ambiance and be assured of easy parking.  Late comers cannot be seated after the show begins in a non-proscenium theatre.  There is no curtain, but it would rise at 8:00 with the house opening at 7:30.  Call the box-office for information or tickets at 205-235-3700.