L-R: Molly Kessler as Elinor Dashwood, Lynley Glickler as Marianne Dashwood
Sense and Sensibility
By Jessica Swale (adapted from the novel by Jane Austen)
Directed by Lauren Morgan
Produced by Stolen Shakespeare Guild
Audience rating: G
Running time: 2.5 hours with 15 minute intermission
Accessible seating: Available
Hearing Devices: Available
Sensory Friendly showing: Not Available
ASL showing: Not Available
Sound level: Comfortable
Noises or Visuals to prepare for: None of note
Reviewed by Stacey L. Simpson
Stolen Shakespeare Guild proves that you don’t need an elaborate set to deliver a production with charm and heart. Their staging of Jessica Swale’s adaptation of Sense and Sensibility is intimate and well executed, bringing Jane Austen’s Dashwood sisters to life with SSG’s typical attention to period details.
Molly Kessler as Elinor Dashwood inhabits the “Sense” portion of the play’s title. The role is a balancing act between what the practical Elinor shows to the world and what she keeps inside, and Kessler handles the requirements deftly. Her performance is beautifully controlled, yet expressive; every flicker of disappointment or spark of hope is visible in her eyes and her stiffly-held posture. Elinor’s steadiness in the face of many setbacks–financial, familial, and romantic–makes her eventual emotional release all the more moving.
Elinor’s younger sisters are played by Lynley Glickler (Marianne) and Claire Morgan (Margaret). Glickler infuses Marianne with the immature, uncontrolled passion that the “Sensibility” side of the title demands, and Miss Morgan is clearly having fun as the nature-loving, hoydenish young Margaret. Amanda Hawkins was lovely and well cast as Mrs. Dashwood, widowed mother to the three sisters. Cameron Martinez as reserved, earnest Edward Ferrars, Blake Hametner as the reliable Colonel Brandon, and Gavin Mariscano as cad/heartthrob John Willoughby make a handsome trio of gentleman suitors.
The production is bolstered by a supporting cast that brought sparks of comedy and personality. Kirsty Johnson as the interfering, snobbish Fanny Dashwood plays the role with such delicious calculation that you love to hate her. Ben Plopper plays her spineless gentleman husband John Dashwood, who gives in to her greedy insistence to deprive the sister and their mother of their home. On the lighter side, Laura Martin Jones as gossiping Mrs. Jennings is brashly funny and relentlessly energetic. Jones captures the essence of the well-meaning (?) but overbearing (!) matchmaker. Her performance, as well as Gary Payne’s as the amiable Sir John Middleton, provides a nice levity that balances the more somber, romantic yearning of the main plotlines. Chloe Carroll as Lucy Steele, Bradley Langan as Robert Ferrars/Mr. Palmer, and Tasha Gaftea as Mrs. Palmer/Miss Grey all acquitted themselves well and created distinct characters that helped bring the story to life. Playing a number of enjoyable, comical, and useful roles in rapid succession was Jason Morgan, as Thomas/Mr. Perks/Dr. Harris and an assortment of servants and messengers.
Director Lauren Morgan makes good use of the smallish space, using fluid scene transitions and blocking to shift the action from grand manor to shabby cottage to rainy field to London ballroom. A raised platform, courtesy of Assistant Director and Set Designer Jason Morgan and crew, creates visual interest and improves sightlines. A painted scenic backdrop by Lauren Morgan and installed greenery evoked an English countryside setting.
Period-appropriate props were selected by Jennifer Stewart as Props Designer. Olivia Hopkins designed lighting to assist with the scene transitions, and sound design was also by Lauren Morgan. The technical execution of the production is nicely done overall, and particularly so in the costume department. Budgets are tight in many community theatre productions, and men’s period attire – specifically the fit and style of jackets and trousers – is often overlooked, glaringly modern, or ill-fitting. That is not the case here. The costumes by Lauren Morgan were perfect in every detail, reflecting a high level of care and craftsmanship. This truly enhanced my enjoyment of the play.
SSG has delivered a classic production that is as smart as it is sweet. It’s a must-see! Runs through February 22, 2026. Tickets at stolenshakespeareguild.org.
On with the show!
Stacey L. Simpson
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