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It was the opening dance sequence—and the cover of the program—that threw me off. Elizabeth Bennet, headphones slung casually around her neck, slow-mo dancing to EDM (electronic dance music)? I balked. I’d expected a traditional production with empire-waist gowns and Regency-era restraint. I was mistaken.
Pride and Prejudice, the final production of the 2024–25 season at London’s Grand Theatre, leans into contemporary flair and stylized choices. While there were a few awkward moments, for the most part, this production was a clever and thoroughly enjoyable adaptation.
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🎒 Shop: Travel EssentialsThis is not your grandmother’s Jane Austen—but the wit, romance, and absurdity of social expectations are all still there.
Kate Hamill’s Pride and Prejudice breathes new life into the iconic story, revitalizing it for a modern audience while keeping those empire-waist expectations high. Artistic Director Rachel Peake explains Austen’s lasting power:
“The thing Austen gets very right, that defines her ability to last through time, is the way she sets humour alongside social commentary.” She adds: “Kate Hamill mirrors Jane Austen’s humor and updates it for the 21st century.”
This version debuted in 2017 at the Hudson Valley Shakespeare Festival and brought with it a female-forward lens. Hamill’s script encourages gender-bending roles and double-casting—not just to make a point, but to create more opportunities for women-identifying performers.
Director Rebecca Northan proudly notes: “I am happy to say that our production clocks in at 75% female representation on stage and 88% representation on the Creative Team!”
Northan uses visible costume changes onstage to great effect. Actors flip between roles quickly and sometimes hilariously. At first, it’s a bit disorienting—but it soon becomes part of the production’s charm. Only Lizzy and Mr. Darcy remain in their roles throughout; the rest of the cast takes on multiple characters.
It’s always a joy to see Beck Lloyd on stage. After her powerful performance in Controlled Damage at the Grand in 2023, she returns as a confident, witty, and layered Elizabeth Bennet. Her chemistry with the cast—and her quiet command of the stage—are a pleasure to watch.
Kate Henning is equally magnetic as the wonderfully annoying Mrs. Bennet. She balances comic desperation with heart, making the audience both cringe and laugh at her matchmaking mania.
“Henning is a national treasure,” said Beck Lloyd after the show—and I couldn’t agree more. Known for her TV work (Anne of Green Gables, Saving Hope, Bomb Girls) and plays produced at Stratford and Shaw, Henning is a force.
This production is less about sweeping romance and more about the ridiculousness of the social system that pressures women into marriage. Yes, there’s love and longing, but the humour is what drives this version. (And yes, Kitty has gone missing in this adaptation—we’re down to four sisters.)
The Bennet daughters were each sharply drawn: Raechel Fisher as gentle, shy Jane; Lior Maharjan as a free-spirited, troublemaking Lydia; and Sarah Wilson, who stole scenes as a brooding, goth-inspired Mary. She was a show-stealer and kept the audience in stitches. Beck Lloyd’s Lizzy, of course, remains the witty heart of the story.
Andrew Moodie—who makes his Grand Theatre debut—played both Mr. Bennet and a delightfully awkward Charlotte Lucas. He was excellent in both roles, and I hope we see more of him next season. Eric Craig played Mr. Darcy – overshadowed by the antics of the other characters, he was more a supporting actor than the lead.
Carmen Grant was a whirlwind of versatility, flipping seamlessly between Mr. Collins, Mr. Wickham, and Miss Bingley. Her quick transformations, both physical and emotional, were a class in character work.
I highly recommend you see this wonderful show. This was a bold and very funny production that had the audience laughing loudly and often. A fresh take, yes—but grounded in the timeless humour and social commentary that Jane Austen does best.
If you’re curious about what the Grand Theatre has to offer, this is a fine note to end the season on. And there’s more to look forward to next year, including Frozen, Come From Away, and The Importance of Being Earnest. I’ll be sharing more on that upcoming season very soon!
Details to Know:
Pride and Prejudice plays on the Spriet Stage from April 28 – May 17, 2025. Single tickets range from $24-$96 (Subject to Availability), and are available at www.grandtheatre.com, by phone at 519.672.8800, or at the Box Office, 471 Richmond Street.
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