Daryl Cloran directs with a knowing wink and a toying nudge to some of the Regency societal traditions in Kate Hamill's 'Sense and Sensibility.' Funny, witty, and a tad mischievous at times. Makes me fall in love with literature all over again."

Daryl Cloran makes some excellent choices to grab the audience's attention in Kate Hamill's 'Sense and Sensibility' based on the Jane Austen novel. 
  
Yes, once again, it's another classic I never had the opportunity to read during my undergraduate years as an English major. I should have, but I didn't. The same goes for 'Pride and Prejudice,' which comes as a package deal with 'Sense,' I believe?

Anyway, Cloran makes me want to read 'Sense' now.  Under his perceptive and informed direction, he takes the knowing wink and toying nudge of Hamill's script to have some fun poking at the Regency societal traditions in which the story takes place.

There is strong evidence that the cast and creative team are also having a great deal of fun. That enjoyment assuredly transfers from the stage to the house.

The Dashwood patriarch suddenly dies at the top of the show. I don't want to spoil the hilariously surprising way it happens. When it does, the Festival auditorium erupts with approving laughter.  A chorus of five gossipy, two-dimensional, endearing fops open the play with madcap dashing around that never veers over the top or out of control.

'Sense and Sensibility' focuses on the Dashwood sisters, Elinor (Jessica B. Hill) and Marianne (Olivia Sinclair-Brisbane) and their love lives. While the other performers play characters in the story, Hill and Sinclair-Brisbane do not.

In his Programme Note, Cloran explains why Hamill's script strongly suggests that convention. The others who have double roles play the exact opposite of the other. It becomes an exercise in watching actors hone their craft as they bring two opposing characters to life in a matter of moments.

Upon the death of the patriarch, the girls' older half-brother John (a sensational, spineless and snooty Andrew Chown) and his stuck-up haughty wife, Fanny (a wonderfully bitchy Sara Farb), inherit the estate. Elinor, Marianne, their younger sister, Margaret (a deliciously daffy Jade V. Robinson) and their Mother, Mrs. Dashwood (Glynis Ranney), feel like outcasts in their own home. Mrs. Dashwood decides to leave the house within a week and move to a smaller cottage on the estate of Sir John Middleton (Steve Ross).

Before the move occurs, some happiness arrives at the Norwoods.

Fanny's brother Edward Ferrars (Thomas Duplessie) comes for a visit and develops a friendship with Elinor (who's said to be the most sensible of her sisters). Marianne senses that Edward is in love with Elinor but cautions her sibling that this attention may be either esteem or admiration.

After the move to the smaller cottage, Marianne gains the attention of two possible suitors: Colonel Brandon (Shane Carty), who might be just a tad too old for her. The other suitor is John Willoughby (Andrew Chown), a handsome gentleman who loves reciting poetry.  Marianne prefers the latter and defies the conventions and standards of the world she knows.  The responses of the five Gossips, who effectively underscore the reactions of those around them, are impressive. Willoughby then cuts off all contact with Marianne, which sends her into a tailspin of dreadful woe to the point where she becomes sick and bedridden. Elinor then discovers Willoughby has become secretly engaged to Lucy Steele (a bad-ass and confidently bitchy Jade V. Robinson).

Ultimately, the understanding of what it means to love another person – whether it be spiritual, emotional, existential or erotic – remains of tremendous importance in Austen's tale.

The show's pacing never plods along. It's constantly in motion, with set pieces and items wheeled on and off with nary a breath from either the Gossips or the other actors in the scene. Dana Osborne's colourful costumes are lovely to see. The varied fabrics and textures on the men's and women's clothing consistently catch the eye. Osborne's set suggests a regalness. At the pre-show, there's a table with a fancy-looking tablecloth, freshly pressed, and five teacups.  The empty picture frames become comic props when the Gossips place themselves in them to watch and comment on plot proceedings occurring in front of them.

Jareth Li effectively captures the natural lighting effects that envelop the story's action. Jonathan Lewis selects some wonderful-sounding music to help transition scenes smoothly. Julie Tomaino incorporates movement, which also adds to the natural progression of the plot.

There are memorable performances worth noting.

Glynis Ranney and Seana McKenna deliver comically opposing performances as matriarchal influences. The former's dotty yet loving nature, as Anne Steele, becomes effectively juxtaposed to the latter's senior, who uses a wheelchair and whose mumbling becomes fodder for laughter.

The five Gossips (Christopher Allen, Jenna-Lee Hyde, Celia Aloma, Jesse Gervais and Julie Lumsden) deliciously comment on the norms and customs of the Regency era in which 'Sense' takes place.  Andrew Chown's repentant Willoughby is highly believable (at least to me) when he says he didn't wish to see or wish illness upon Marianne. Jade V. Robinson is uber precocious and precious as the petulant younger Dashwood sister, Margaret. Her Lucy Steele (four-year fiancée to Willoughby) is credibly annoying but skillfully played. There's an appealing pompous puffiness behind Steve Ross's Sir John Middleton, who wants to do right in helping the Dashwoods and their unfortunate circumstances after the death of their patriarch.

The reason to see 'Sense and Sensibility' is to witness the genuine chemistry between Jessica B. Hill and Olivia Sinclair-Brisbane as Elinor and Marianne.

They always listen keenly to each other. There's an earnest and fervent trust between the two of them, much like they could be caring siblings to each other outside the theatre.  At one point, when Sinclair-Brisbane's Marianne is sick, Hill's Elinor crawls into bed with her ailing sister and lies next to her, crying. It's a touching moment. Hill also shows a comical moment that made me laugh out loud when Seana McKenna brings a liquid sedative to help the ailing Marianne sleep. Instead, Hill downs the drink in one gulp. It doesn't trivialize the illness but allows the audience to release emotional laughter in times of stress.

Cloran says in his Programme Note:

"If you leave our Production [with a joy-filled heart], we have done our jobs."

You can be proud of your cast and creative teams, Daryl.

'Sense and Sensibility' is a treat. 

Your production now encourages me to read the book. The question is when since you also say in your Note:

"I love theatre. I can't wait to see another play."

Those are my sentiments exactly.

Running time: approximately two hours and forty minutes with one interval/intermission.

'Sense and Sensibility' runs until October 25 at the Festival Theatre. For tickets, stratfordfestival.ca or call 1 (800) 567-1600

SENSE AND SENSIBILITY by Kate Hamill
Based on the novel by Jane Austen
Directed by Daryl Cloran
Set and Costume Designer: Dana Osborne
Lighting Designer: Jareth Li
Composer and Sound Designer: Jonathan Lewis

Performers: Jessica B. Hill, Olivia Sinclair-Brisbane, Jade V. Robinson, Glynis Ranney, Andrew Chown, Sara Farb, Thomas Duplessie, Seana McKenna, Steve Ross, Shane Carty, Christopher Allen, Jenna-Lee Hyde, Celia Aloma, Jesse Gervais, Julie Lumsden

(Photo Credit: David Hou. Pictured: Olivia Sinclair-Brisbane (in bed) and Jessica B. Hill