Townspeople, as well, gossip about the relationships forming and unforming. Most importantly, Elizabeth serves as a narrator, speaking directly to the audience to reveal important information and confide her feelings. Where Calvit does stray is in how the plot is conveyed. This specific adaptation, by Christina Calvit, stays true to all the essential plot points of the original novel and pulls much of the dialogue from Austen’s work. Everyone around them is immediately intrigued. Bingley (Judah Hoobler), a bachelor who has just moved to town with his best friend, Mr. The main prospect for the eldest, Jane (Stephanie Dorius), is Mr. Bennet (Andrea Spitz) is desperate, for inheritance purposes, to marry off at least one of her daughters to a wealthy man. At the center of that story is Elizabeth Bennet (Katherine Leiden), the second-eldest of five daughters in the Bennet family. Now, as directed by Madeleine Smith, Austen’s story has finally made it to the stage.
Three years later, with much of the same cast and crew finally ready to complete the process, unexpected construction at Silver Spring Stage’s home theater forced the company to stage the production at The Writer’s Center in Bethesda, a city that is notably not Silver Spring. Just two weeks into rehearsal, a global pandemic delayed the show. It should be noted, too, that this production also overcame several challenges unrelated to the source material. In a production faithful to its source, the community theater company has brought Austen’s classic to life and, for the most part, overcomes the challenges associated with doing so. In the case of Silver Spring Stage’s production of Pride and Prejudice, now in performances through May 14, the former option has been chosen.
Stephanie Dorius, Judah Hoobler, Katie Anthony, Tom Howley, Andrea Spitz, Katherine Leiden, Imaan Khan, and Amanda Dullin-Jones in ‘Pride and Prejudice.’ Photo by Brian Knapp. No option is wrong, but all come with their own challenges. Expectations create a million different options for bringing a story to life, ranging from staying true to the original source material to straying far away from it. After all, it means that theater-goers will have an idea of what this show is, an expectation for their theater-going experience. Still, obvious as it may be, the fame of Pride and Prejudice is important to remember for a theater company staging an adaptation of it.
Today, it is so oft-referenced that non-readers will recognize at least the main characters. Jane Austen’s 1813 novel is a classic for a reason - its deceptively simple story has aged well, or maybe even not aged at all. To note that Pride and Prejudice is well-known is perhaps a truism, so obviously accurate that it need not be said.
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