From Portsmouth to Peterborough, from Leicester to Lancaster, we restored some of dearest Jane’s more esoteric works to the
Great British public. There was the mouthwatering musical Willoughby Wonka (replete with poorly-paid Oompa Loompas), the spine-chilling Mr Darcy & Mr Hyde (the Gothic horror thankfully diffused by replacing the potion with God’s milk), and the incomparable experience of Something Nasty in the Woodhouse (let’s just say we’ll never look at B&Q, soup or hats the same way
To our splendid audiences, our sincerest thanks. You were truly wonderful, and we can’t wait to see you again next year,
suggestions at the ready!
In the mean time, you can catch us back at the Savoy Theatre in London’s West End, with extra December shows to celebrate the Christmas season!
We are delighted beyond measure to announce that we are heading to London’s famous West End!
We will be gracing the Piccadilly Theatre (not five minutes from Mr Willoughby’s discredited lodgings at Bond Street) for three dates, starting this December. Be sure to wear your best bonnet & breeches – and bring your dance card!
~ Dates & Times ~
December 5th, January 23rd, February 13th
Piccadilly Theatre, 16 Denman Street, London, W1D 7DY
Tickets are available right here!
“We were within a few hours of eloping together for Scotland. The treachery, or the folly, of my cousin’s maid betrayed us.”
SENSE & SENSIBILITY
Unlike poor Colonel Brandon, who never made it across the border, we have leapt into our curricles and hotfooted it past Gretna and all the way to Edinburgh. We have the express intention of spending the season amongst the high society here, and what a bustle we find!
For it is the Edinburgh Fringe, no less, and already our adventures in our Udderbelly home have begun. So far we have plucked from our top hats the delightful trio of ‘Sarcasm & Satire’, ‘Boldark’ and ‘The Red Ribbon’, and we wait in frenzied anticipation to see what wonders the remaining three weeks will hold.
Do join us, dear reader, do!
If you are of a saucier disposition, and yet possessed of a warm and charitable heart, you may also spare a thought for our one-off debauched spectacular Crosstentatious – in which (though we blush to utter it) the men dress as ladies, and the ladies as men! For shame! Ribald as these coarse entertainments are, it is all in aid of Waverley Care, and a finer cause one nary encounters.
So if you are possessed of a hardy constitution, and have not your reputation to risk, you may invite yourself to the vulgar and boorish outrage on the 17th August right here.
For now, then, we bid you farewell. Or as the Scots would say (they are so very quaint, dear reader), ’cheerio the nou!’
If Pride & Prejudice taught us anything it is that one should not leap to rash conclusions based on a one-sided account. So it is convenient indeed that this week has seen Austentatious approached from two very different perspectives.
First up The Times, who tackle the irrepressible rise of UK improv in an article marking the upcoming launch of the Bristol Improv Theatre, the first venue in the country established to showcase solely unpremeditated dramatic delights.
Our very own Ms Cariad Lloyd articulates the unique dynamic that makes the group tick in this extract from the article:
“Improvising doesn’t feel like work to me. It’s a cliché, I know, but it feels like coming home.” And when it clicks, she says, it’s like nothing else. “I haven’t done many drugs, barely any, but I’d imagine . . . you are all reaching a high together, you are all on stage and thinking the same thing. It’s what you look for in any relationship, isn’t it?”
If that’s one explanation of our unique appeal, quite another is offered up in a brand new book, Marina Cano’s Jane Austen & Performance.
It is flattering indeed to be considered “a good closing example of the eminently performative and theatrical force behind Austen’s stories”, although we do fear the impact of the literary-Inception triggered by our show about Austen being analysed in the same manner as our source material.
Still, we look forward to putting the following pull-quote on our Edinburgh posters:
Through their flawed imitation of Austenian tropes and stories, Austentatious exposes the imitative nature of the Austen phenomenon: the actors frequently quote the screen adaptations—in their frequent inclusion of a final kiss and their use of the soundtrack of Langton’s BBC miniseries in their promotional video. Paraphrasing Butler, Austentatious’s parodic recitation of Austen reveals that performance is to source text not as copy is to original, but rather as copy is to copy.
So is improvising Austen akin to a collective narcotic buzz, or a perspicacious exposition of “the imitative nature of the Austen phenomenon”? We expect it’s a bit of both.
Now before we get cold turkey, we’re off to Caterham tonight, for another hit of purest Jane.