DEATH COMES TO PEMBERLEY

Theatre Royal Windsor

★★★

“for the most part the characters are gently engaging”

When P D James wrote “Death Comes to Pemberley”, she prefaced the novel with an apology to Jane Austen for ‘involving her beloved Elizabeth in the trauma of a murder investigation’. She surmised that had Austen wished to dwell on such ‘odious subjects’, she would have written the story herself, and ‘done it better’. The general reception to her novel disputed her modest self-criticism, however, and her sequel to ‘Pride and Prejudice’, written in the style of Jane Austen, was a blend of James’ signature crime writing and Austen’s sardonic romance. It wasn’t long before it was adapted for television, but it has taken a few more years for it to reach the stage.

Duncan Abel and Rachel Wagstaff’s adaptation is a remarkably faithful interpretation of the P D James mystery novel. It is the year 1803, and Darcy and Elizabeth have been married for six years and are comfortable in their orderly world on their idyllic estate of Pemberley. On the eve of their annual ball there is a storm. Elizabeth’s younger sister, Lydia, bursts onto the scene screaming blue murder. A corpse is found in the woods, cradled by Lydia’s blood-soaked husband. It appears to be an easily solved whodunnit. It isn’t, of course. That would make for a very short play. And this adaptation – which opened at the Mill at Sonning prior to its current tour – is most certainly on the long side.

It is not an easy story to adapt, yet Abel and Wagstaff do justice to both Jane Austen and P D James with a cast that authentically recreates the characters. There is inevitably an overreliance on exposition which causes the story to drag occasionally, but for the most part the characters are gently engaging. All eyes are bound to be on James Bye, fresh from his television persona as Martin in ‘Eastenders’. But Bye is unrecognisable, sensitively portraying the solid Fitzwilliam Darcy, adding an appealing vulnerability to his haughtiness. Jamie-Rose Duke places Elizabeth Darcy ahead of her time, unafraid to stand up to her husband but unashamed to stand by him too. The couple seem to be the only ones on the side of the prime murder suspect, George Wickham. He’s a dodgy fellow who does himself no favours, portrayed with infectious energy by Sam Woodhams. Woodhams also doubles as the terminally ill Will Bidwell – quite ironic given the role Will plays in the mystery, but I shall give nothing away.

As skeletons come out of the closet, the plot thickens, relationships tangle, intrigues intertwine, and class divides blur. The atmosphere is seldom fully realised, however, and there is little in the way of suspense. And an awful lot of lines are lost among problems of projection (James Bye is an exception, as is Sarah Berger’s matriarchal Lady Catherine de Bourgh). Director Jonathan O’Boyle ably steers the narrative through the woods, but never really breaks from a trot; particularly in the first act. After interval the pace quickens to a canter, but we want to feel as though we are galloping towards the conclusion. A sense of location is often missing too. Mike Robertson’s lighting attempts to lead us from the salons into the woods, but too much overspill leaves us hovering between the two.

Although it obviously helps, you don’t need to be familiar with Jane Austen’s ‘Pride and prejudice’ (or P D James’ sequel) to appreciate the story being told here. There is plenty to hang onto as the strands of the storyline come together and backstories are revealed. But we are hanging on precariously – the hold on our attention lacking the strength to keep us gripped throughout. It could be a wonderful blend of whodunnit and period drama but, despite the commitment of a fine ensemble cast, it is left swinging between the two, not entirely sure which to reach out for.

DEATH COMES TO PEMBERLEY

Theatre Royal Windsor then UK Tour continues

Reviewed on 25th July 2025

by Jonathan Evans

Photography by Pamela Raith

Last ten shows reviewed at this venue:

DOUBTING THOMAS | ★★★½ | June 2025

FAR FROM THE MADDING CROWD | ★★ | March 2025

PRIDE & PREJUDICE (SORT OF) | ★★★ | February 2025

BOYS FROM THE BLACKSTUFF | ★★★★ | January 2025

FILUMENA | ★★★★ | October 2024

THE GATES OF KYIV | ★★★★ | September 2024

ACCOLADE | ★★★½ | June 2024

OH WHAT A LOVELY WAR | ★★★★ | April 2024

CLOSURE | ★★★★ | February 2024

THE GREAT GATSBY | ★★★ | February 2024

DEATH COMES TO PEMBERLEY

★★★

“It won’t rock the boat too much as it drifts along on its stream of witty dialogue pleasantly enough”

Published in 1889, Jerome K. Jerome’s “Three Men in a Boat” was initially intended to be a serious travel guide, with snippets of local history thrown in. But unwittingly, the author’s natural flair for comedy took over the narrative and Jerome found himself with an instant best seller on his hands. Since then, it has never been out of print and, even if not everybody has read it, most people are familiar with its title. It is simultaneously dated yet, quite rightly, resists being placed in a contemporary context. Instead, his style and influence can be seen in modern-day equivalents such as Bill Bryson, or more specifically Pete McCarthy. And even Tim Dowling owes his self-deprecating gift for focusing on the commonplace in part to Jerome.

Nothing much happens at all in “Three Men in a Boat”. That is much of its beauty, so to translate that onto the stage is going to be a tall order. Clive Francis’ adaptation moves it forward in time to the eve of World War I, although we only get a glimpse of this representation – albeit a powerful one – towards the end. The preceding couple of hours is a faithful reproduction of the book which doesn’t always translate into a particularly interesting piece of theatre.

We meet the characters: Jerome (George Watkins), his banker chum George (James Bradshaw) and the eccentric Harris (Sean Rigby) discussing their various, real and imagined ailments; the three actors quickly and neatly establishing the personalities of the odd trio. While none of them can decide quite what they are suffering from, they all agree that it has been brought on by overwork. A change of scene is what is needed. Sean Cavanagh’s authentically detailed set provides this by cleverly opening up from its Edwardian Kensington apartment into a nostalgic backdrop of the Thames riverbank. The three friends then cram themselves into a boat that is far too small for comfort (especially for the week-long cruise they are embarking on). It’s a good job their canine companion is imagined – its presence represented by sound alone.

We also meet some interesting and colourful characters along the way (lockkeepers, country-bumpkins, pub-locals, boastful fishermen), all played in turn by the three men in the boat. The technique allows for touches of farcical humour, and thanks to the performers’ versatility and swift shapeshifting, we are never confused. Director Joe Harmston relies on the device too much, however, diluting the dramatic impact. The narrative works best when the three men are just being themselves, and we are afforded personal access to their close-knit camaraderie. Yes, tempers occasionally fray but Watkins, Bradshaw and Rigby never let us forget the deep-rooted sense of loyalty and companionship that true friendship offers. The second act strongly reinforces that underlying message.

“To friendship and loyalty” they toast in the final moments. The tone shifts into a minor key as the hum of warplanes drifts from the horizon. It is a fleeting and poignant footnote. But overall, “Three Men in a Boat” is as comforting as a gently meandering tributary. It won’t rock the boat too much as it drifts along on its stream of witty dialogue pleasantly enough. Some of us might need something more challenging, but we all need every now and then the refreshing and easy-going escapism that this show has to offer. And the Mill at Sonning is the perfect setting for it. As Jerome K. Jerome writes in the book; ‘… it is the most fairy-like little nook on the whole river… more like a stage village’. You won’t be swept away, but it’s definitely worth getting on board.

DEATH COMES TO PEMBERLEY

Theatre Royal Windsor

★★★

“for the most part the characters are gently engaging”

DEATH COMES TO PEMBERLEY

Theatre Royal Windsor then UK Tour continues

Reviewed on 25th July 2025

by Jonathan Evans

Photography by Pamela Raith

Last ten shows reviewed at this venue:

DEATH COMES TO PEMBERLEY

DEATH COMES TO PEMBERLEY

DEATH COMES TO PEMBERLEY

THREE MEN IN A BOAT at The Mill at Sonning

★★★

“It won’t rock the boat too much as it drifts along on its stream of witty dialogue pleasantly enough”

THREE MEN IN A BOAT at The Mill at Sonning

Reviewed on 15th June 2024

by Jonathan Evans

Photography by Andreas Lambis

Previously reviewed at this venue:

THREE MEN IN A BOAT

THREE MEN IN A BOAT

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