★★★★

“brimming with passion and sincerity”

How do you reconcile such differing temperaments as Jane Austen’s Elinor and Marianne? Ledwell Productions does exactly this in ‘Sense & Sensibility, The Musical’, blending opera with musical theatre in a fresh new take.

Based on Austen’s novel ‘Sense and Sensibility’, Elinor and Marianne Dashwood don’t have it easy. Their father dies; they lose their income; sensible Elinor’s blossoming romance with the bashful Edward Ferrars is cut short; the Dashwoods relocate to Devonshire to live near their cousins, the Middletons. Luckily the Middletons take pity and introduce them to the brooding Colonel Brandon, who sets his cap at Marianne. But Marianne’s a hopeless romantic and when the charismatic Mr Willoughby sweeps her off her feet (literally), passions ignite… until scandal and illness trigger an abrupt change of course.

Produced by Elora Ledger with book and lyrics by Jeffrey Haddow, music by Neal Hampton and musical direction by Guy Murgatroyd, ‘Sense & Sensibility, The Musical’ blends musical theatre and opera, doing both surprisingly well. The songs have a familiar structure and feel while the delivery is classical. It may seem an odd choice but it evokes the period perfectly while drawing modern audiences in. The deliciously complex score is another high point, mixing up keys, metres and tempos to convey the exact mood each moment requires.

It’s tightly written with a slimmed down plot driving the narrative and emotional development forward. The clever and sparing use of song to reveal hidden desires without diminishing decorum is particularly satisfying. The only slight stall occurs in Act 2 when Edward sings before the sisters’ moment of mutual realisation, the latter of which feels a little rushed. That said, the book is delightfully funny with some unexpectedly self-aware moments.

Alexandra Cowell’s direction shows off the cast’s range, each person playing multiple characters. That said, some of the choices are a little odd. Marianne endures her illness on the floor, the cast singing towards her rather than out. The ensemble numbers feel a little remote with stiff choreography, face obscuring masks and flat characterisations. Willoughby (meant to be 25) and Sir John (meant to be 40) are played by the same person. The multiple roles necessitate frequent quick changes, some of which are more successful than others. Although minor individually, collectively these points erode some of the realism.

The set (Dream of Eclectic Chic) successfully evokes various Regency drawing rooms though is a little sparse – Marianne could do with a couch for example. The costumes (Ledger) use beautiful fabrics and styles though the minimalist set draws the eye to things like sleeves falling down and less successful quick changes. The lighting design is a bit basic, steeping the room in purple at dramatic moments but otherwise missing several chances to heighten dramatic tension. The sound design makes successful use of effects, though microphones could avoid the dialogue being drowned out by music at points.

The cast is fantastic, with Rachael Liddell’s Elinor, Ledger’s Marianne, and the chemistry between them particular highlights. Liddell is a masterclass in acting through song, showing every facet of Elinor’s character with a stunning mezzo soprano voice. Marianne’s effervescent naivety is at such odds with Lucy Steele’s withering condescension you almost forget Ledger plays both. Ledger also keeps Marianne endearingly relatable despite her emotional outbursts and even shows off some effortless soprano coloratura. Cowell contrasts her exuberant Mrs Jennings/Dashwood with taciturn Fanny/Miss Grey and a beautiful high soprano voice. The skilful musicians (Daryl Giuliano, Felicity Broome-Skelton, and Murgatroyd) are a delight, filling the room with rich sound.

If you like musical theatre but are less sure about opera, ‘Sense & Sensibility, The Musical’ brings out the best of both in this masterful union. Much like our heroines, it is brimming with passion and sincerity even if it could use a little refinement in places. Don’t miss your chance to see it, lest like Willoughby you regret what might have been.

JANE EYRE

Arcola Theatre

★★★★★

“at once powerful and raw while remaining refined and focused”

Green Opera’s production of John Joubert’s Jane Eyre turns the best parts of opera into a phenomenal work of art. I strongly encourage anyone who “doesn’t like opera” to try it – productions like this will make you think again!

An abridged adaptation of Charlotte Brontë’s original story, the audience sees a mysterious woman in white engrossed in a blood red tapestry with branches, keys, books and other plot references suspended above us. As the lights go down, the woman suddenly flits between these objects, foreshadowing what is about to unfold. Then in darkness, tongues of flame illuminate the full cast before the lights come up on the end of Jane’s time at Lowood School. She is considering leaving to become Rochester’s governess at Thornfield Hall and a fierce argument ensues with Brocklehurst, the school’s supervisor, before she frees herself of his cruelty. Times skips forward to Thornfield Hall as Jane rescues Rochester from incendiary catastrophe. It’s clear the two already share feelings for each other and by the close of Act 1 they are planning their future together. However, the course of love never did run smooth, and a shocking revelation forces Jane to flee Thornfield Hall until love finally calls again.

Joubert’s complex score creates a rich and varied soundscape, heightening the emotional rollercoaster we find ourselves on. From clashy, postmodernist discordance, to sublime, soaring harmonies, it perfectly punctuates each scene and drives the plot forward in its own right. The complexity may not be the easiest on the ear for the musically uninitiated; but you don’t need technical knowledge to appreciate musical director and conductor Kenneth Woods’ accomplished interpretation of the conflict and harmony this powerful composition conveys.

Kenneth Birkin’s English libretto is refreshingly selective in its use of source text, emphasising the moments of emotional intensity and skipping over the rest. This creates an emotionally charged experience, elevating key scenes without seeming self-indulgent. In fact, the libretto is surprisingly clear, avoiding too much repetition (an opera bugbear of mine), and holding your attention even if you are familiar with the text. Though anyone unfamiliar with the story would benefit from doing some pre-reading to fill in the gaps.

Another opera bugbear of mine can be the lack of dramatic immersion, especially in more static productions when you’re up in the gods (sadly the only seats I can afford). Producing this in the Arcola Theatre is a revelation, as the intimate space draws us into the cast’s full spectrum of emotions without having to take out a loan. Eleanor Burke’s direction immerses us further, extracting powerful performances and cleverly using space, levels, movement and visually striking symbolism. Though my favourite part is the use of the woman in white and her tapestry. The reason Jane flees Thornfield probably isn’t a surprise and the reveal risks becoming hackneyed; instead Burke uses that prior knowledge to manipulate the narrative, creating tension by foreshadowing events through her. Movement designer Alex Gotch also makes her presence ghostly in new ways, such as her unnatural actions and voiceless breathing.

Emeline Beroud’s set design is a stroke of genius. We open with key plot references lifted from the page and into the air in fragments. There is enough to keep the narrative grounded but their involvement remains delightfully abstract. The minimalist design reflects this abridged adaption and yet packs in a surprising amount of storytelling through very effective symbolism, particularly the recurring motif of red cord which functions as a restraint, fire, societal duty and more at different points, and the unravelling blood red tapestry hanging ominously over the stage.

Beroud’s Georgian inspired costumes are also steeped in symbolism, with an oppressively monochrome palette. Trui Malten’s lighting design appears deceptively simple as initially shadowy, cool lights flicker into flames before warming Jane and Rochester’s blossoming romance with gold tones. It’s simple but inventive, at one point using nails in the wall to cast reaching shadows onto Rochester’s emotional prison. Gotch’s movement design is woven seamlessly throughout the story with a spasmodic ballet – at times dancing, climbing, escaping – overshadowing Jane and Rochester’s love.

The cast is a performance masterclass. Laura Mekhail shows us Jane’s transformation with grace, grit and soul, while showcasing her sparkling soprano top notes and powerful lower register. Hector Bloggs’ booming baritone makes the whole space reverberate with Rochester’s regret and despair. Anna Sideris, Emily Hodkinson and Lawrence Thackeray offer some welcome levity as the Rivers’ family, jokingly showing off their exquisite harmonising. Steffi Fashokun’s Bertha Mason wordlessly conveys deep pain and turmoil. The small but mighty troupe of musicians (Alex Harmon, Aleem Kandour, Daniil Zemtstov, Thomas Vidal, Evangeline Tang, David Wheeler, Lewis Graham) deserve a huge round of applause for their expert performance, filling the space with beautiful, driving sound.

This focused adaption of Jane Eyre is at once powerful and raw while remaining refined and focused. It benefits from a little pre-reading, though as someone who doesn’t love opera I can wholeheartedly say it’s a phenomenal piece of art which works on many levels. Don’t miss your chance to fall in love with opera today!

SENSE AND SENSIBILITY: THE MUSICAL

Arcola Theatre

★★★★

“brimming with passion and sincerity”

SENSE AND SENSIBILITY: THE MUSICAL

Arcola Theatre

Reviewed on 19th August 2025

by Hannah Bothelton

Recent reviews from this venue:

SENSE AND SENSIBILITY

SENSE AND SENSIBILITY

SENSE AND SENSIBILITY

JANE EYRE

Arcola Theatre

★★★★★

“at once powerful and raw while remaining refined and focused”

JANE EYRE

Arcola Theatre

Reviewed on 6th August 2025

by Hannah Bothelton

Photography by Camilla Greenwell

Last ten shows reviewed at this venue:

JANE EYRE

JANE EYRE

JANE EYRE

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