SENSE AND SENSIBILITY: A New Take on Austen’s Classic

Caitlyn Nettesheim as Lucy Steele (left) and Laura Kloser as Anne Steele (right) in Sense and Sensibility at Waukesha Civic Theatre. Photo credit: Anne Kenny Creative.

A review of Sense and Sensibility

by Sofia Gilson, age 16

Based on Jane Austen’s first novel, Sense and Sensibility contrasts the heartbreaks and romances of two sisters, Elinor and Marianne Dashwood, as their family struggles financially without their father. Going into Waukesha Civic Theatre’s play adaptation, I had little knowledge of Sense and Sensibility, only knowing the barest details (and the iconic scene of Willoughby rescuing Marianne in the rain, specifically from the 2008 BBC depiction). But I am nearly the biggest fan of Austen’s second novel, Pride and Prejudice, so I had no doubt I would enjoy this production. Taking inspiration from the hit Netflix series Bridgerton, this production takes a more modernized twist on the classic. Colorful, less historically-accurate costumes and hairstyles, as well as the usage of orchestrated versions of pop music, were all components used that were inspired by the television show. This production was absolutely gorgeous—set, costume, and hair elements caught my attention throughout the show; however, some inconsistencies with lighting, hair, and costume elements did distract from the central elements of the story.

The core set of this production (designed by Evan Crain) was stunning, with many levels and intricate painting details. Light blues and white made for a soft, elegant setting. The segments on each far side of the stage that unfolded to reveal fireplaces and living areas were a great way to use space simply. The center gates folding out to show outdoor backdrops and the flowers decorating the right side of the stage’s balcony steps made for easy ways to delineate outdoor and indoor locations.

On the aforementioned set, many pillars with multi-colored lights were placed. They cast light that helped separate locations: soft yellows and blues were used for outdoor mornings, while brighter purples and teals were used for sitting and ballrooms. However, during and after intermission, these lights often flickered, which muddled the main lighting and distracted from the scenes at hand. The performance I viewed was a preview performance, so this may have been fixed in time for opening. Otherwise, the lighting (designed by Mike Lindgren) was greatly effective, and I felt that every actor was visible when necessary.

As I previously mentioned, the usage of orchestral versions of pop music in the background of many scenes is an inspiration taken from Bridgerton. Although I adore when straight plays include music, Demi Lovato’s “Confident” or Olivia Rodrigo’s “Vampire” playing during emotional or crucial scenes did distract me from the events and stakes at hand.

The costumes (designed by Sarah Jo Martens) greatly caught my attention. Keeping in mind the show’s influences, historical accuracy to the Regency era may not have been the intention of these costumes, but that aside, I found most of them to be beautiful and well-fitting to the characters. I specifically enjoyed Edward, Marianne, and the Steele sisters’ daily outfits, as well as the Dashwood sisters’ nightgowns. The inclusion of sweaters and hats to show the progression of seasons or that they were going outdoors was greatly effective. However, some costumes appeared ill-fitting, such as Mrs. Dashwood’s gold and black dress and Sir John Middleton’s pink and white suit, which were too large for their performers. The hats worn by the Dashwood sisters when outside were also too large and covered their faces.

Similarly, I enjoyed many of the wigs and hairstyles used. Mrs. Jennings and Lady Middleton’s fabulous white wigs with feathers and ribbons were great Regency-inspired pieces. I absolutely adored Marianne’s hairstyle, which was practical in keeping her hair out of her face while still looking beautiful. Mrs. Dashwood and Elinor’s hairstyles took clear inspiration from Bridgerton’s Daphne Bridgerton and Penelope Featherington's iconic styles, which, although very pretty, had small pieces in the front that blocked the actors’ faces. Some male performers’ hairstyles were distractingly contemporary or came in the way of their faces as well, like Willoughby’s long hair, which could have benefited from being tied back.

With its own modernized spin, Sense and Sensibility at Waukesha Civic Theatre is a great adaptation of Jane Austen’s novel. Although minor flaws did distract from the story, this is still a strong production that blends contemporary aesthetics with the Regency era. For fans of the Bridgerton series, this is a great production to hold you over until the rest of the season comes out!