Austen and Kane Worked Their Magic

A review on MX’s latest play: Sense and Sensibility

Illustration by David Yang

On a dreary November 15th evening, the Middlesex theatre crew came together to host a temporary respite from student strife the weekend prior to restricted assessment week. The showing was great, as students flocked to the theatre right after check-in at the BAP. Tom Kane gave us his usual boisterous pre-show announcement, the lights dimmed, and the show was on. 

The public reception, however, was unfortunately mixed for the play. Some students left halfway during the intermission and fled back towards their dorms after a supposedly “boring” first act. But those who stayed were rewarded with a promised kiss scene, which was welcomed with an energetic response from the first few rows in the audience. Furthermore, the visuals were frankly beautiful, with a variety of intricate costumes and lighting effects. So despite great performances all around and a stunning spinning set, what was the problem?

Some students blamed the play selection. Junior Alvin Zhang, for example, boasts that he was able to predict each and every “plot twist” that occurred in the story, and while lauding her prose, scorns Austen’s creativity. In truth, for many of the upperclassmen, the plot of Sense and Sensibility is quite similar to that of its predecessor and required sophomore English reading, Pride and Prejudice. In addition, the play did not quite live up to the expectations of a “modern retelling.” Besides the medieval, jaunty renditions of contemporary pop songs (which included many Taylor Swift songs, much to Sra. Aldana’s dismay), the story is largely unaltered from Austen’s original writing. 

Perhaps one of the concerns is also the fact that the thespians had to move the set personally in lieu of a tech crew. While certainly creative, it slowed down the play, a minor issue which could have led to the exodus of students halfway into the show, when the students realized that the first part alone almost elapsed two hours with no conclusion remotely in sight. 

For class president Kwame Addison, one of the male character leads, “It was a splendid production.” When further asked for a more insightful opinion, Kwame remarked that “if it was as fun to watch as it was to make for us actors, then surely it was a great show!” As for his advice for aspiring actors at Middlesex, he counsels for performers to be malleable and daring, as he challenged himself to mold into the awkward character of Edward Ferrars, as Kwame himself is a very charismatic individual. Furthermore, he asks us to take risks in life, on stage as well as finding our promise at Middlesex. 

All in all, Tom Kane and crew managed to brighten our Friday and Saturday nights with their diligently crafted dramatic work. While the dramaturgy and execution may not have been perfect, the play was entertaining and whimsical. To innovate in art is to take risks, as Kwame advises, and Tom certainly produced a brilliant and unique piece of production.

Ethan Yuan