This Spring 2018, Theatre6 is producing a touring production of Jane Austen’s Persuasion. Artistic Director Kate McGregor discusses why they’ve chosen to adapt the work for six actor musicians, and why Persuasion remains so captivating for today’s audiences.
Adapting a novel like Jane Austen's Persuasion for the stage, from the earliest planning stages until the opening night, is a project that absorbs your days and nights for at least two years. In making the decision to dedicate such time to a piece, it has to be one which you’d like to explore visually, conceptually, emotionally and intellectually. Most importantly, it has to be a story that will excite, captivate and be relevant for your audiences. For Stephanie Dale (the novel’s adapter) and I, our biggest inspiration for working on the piece was the character of Anne. We envisioned how the themes in Persuasion could transcend time and space, and imagined how Jane’s ideas could breathe and thrive in our modern world.
A novel must show how the world truly is, how characters genuinely think, how events actually occur, a novel should somehow reveal the true source of our actions
– Jane in Becoming Jane.
Set against the backdrop of the Napoleonic wars, this is a story about heartbreak. It’s about making decisions you regret, about trusting the right people for the wrong reasons. It asks questions about the inner workings of why we love and who loves the longest. Most importantly it’s an expression of Anne inner thoughts and what pressures being parted from those you love can put on the mind.
Out of all of Jane’s novels, Jane Austen's Persuasion is the one that speaks with the most sincerity, frankness and digs deepest into the fragility of the human spirit. In the film, Becoming Jane, Jane expresses why she writes and what type of stories she’ll strive to create. In this, her last completed novel before her untimely death at 42, Jane was writing a book which dealt with some of the darker themes in her life, possibly a combination of her own experiences and definitely an example of her confidence and skill as a published writer. In producing a faithful adaptation of the novel, we wanted to take her intention of truthfulness and honesty as far as we could, to explore Anne’s thoughts and feelings in a way that Jane would have applauded.
No matter that 200 years exist between Jane and ourselves, we all have the same feelings. We all love and wish to be in love at some point in our lives. Most of us have felt the magic of being in love and many of us have felt the loss of it. As human beings we are accustomed to the agony of heartbreak and being vulnerable. Everyone can identify with what it feels like to struggle with loneliness and regret and concealing those feelings from those around us. Anne is a protagonist who speaks to us all, somehow free of the restrictions of time and history.
Our biggest challenge on identifying what was relevant about the novel for today, was how we could present the inner workings of Anne’s mind for a theatre-going audience. It was also important to us that people who had perhaps never been to the theatre before or had never read a Jane Austen novel, would be able to understand her ideas and relate to them. There are several themes in Jane’s novels which are prevalent across all six of them. To name a few – matchmaking, marrying for love or for income, rural life, Bath and high society, responsibility and family, the threat of poverty, the navy and the military, a love of the sea, pride, class mobility and immobility, travelling and new beginnings, deceit, deception and unspoken feelings. In her novels we see long walks, card games, close female friendships and sisterhood, gossip, longing and dreams of the future.
And, without a doubt, there is music: music as art; music as distraction; music that elevates and the music of love. Without a doubt we were determined to involve music in a way that would unravel and reveal the deepest feelings of Anne and use it to help our audience understand the world of the play – the time and context. In our production of Persuasion we play over 20 characters with only six actors. And each of those actors plays an instrument. True to the narrative of the novel, Anne plays the piano exceptionally well. We have extended this idea so that Anne uses her piano and the beats of the music to express her inner most feelings - her darkest thoughts and her wildest joys.
The composer, Maria Haik Escudero has created an original score that is integral to Anne’s thought process and the adaptation. In order to explore and open up the novel for audiences, we’ve given moments for Anne to speak to the audience. Jane Austen's Persuasion was a groundbreaking piece of writing in the impression it offered of the female consciousness. Anne’s journey to escape her inner thoughts and use her voice, and it being heard by others is what is at the heart of the novel. The story explores in minute detail how Anne felt during her 8 years of separation from Wentworth and how those years of inner turmoil and taken hold of her. This is a section from the very beginning of Theatre6’s production –
ANNE : Sometimes, all I can see is blue; the blue of the sea. All I can hear is the falling of the notes on a piano. And for a time, it goes dark. The seasons carry me; I am at their mercy. I have no desire to harm anyone or anything and yet, and yet, because I could not bear to lose my family, I devastated him and for that I shall be eternally tormented.
Our adaptation asks - can people retain their good character even when the ground under their feet is threatened? When they face big changes – losing family members, losing their homes, when their hearts are broken? Women in Jane’s novels were so frequently powerless. Men had choices and women frequently did not. Choices of: marriage; a choice of profession; of entertainments; of travel and of expression. Women could not earn their own money or inherit it. They are entirely at the mercy of the men they are in close proximately with. Love is a precious, perilous and sought after ornament to the necessities required to survive. In a time where the only way they could change their circumstances would be to become involved in a situation with a man who would look after their needs, we felt strongly that Anne must have her voice. She must be understood in 2018.
There’s a thought explored in the final third of the novel that underpins our thinking behind the character of Anne. Whilst men can leave their homes to have careers and find distractions elsewhere, women “live at home, quiet, confined, and our feelings prey upon us.” This idea was the central component which unlocked this adaptation. Whatever was going on in her day to day world, Anne had to cope with the inner turmoil of losing her young love and the duty she believed she owed to her family. Anne’s stoic nature, some believe to be close to that of Austen herself, becomes a shadow of her former self and like the opening of the book she retrenches from society.
Captain Harville in the novel questions whether women are as constant in their feelings as men. He tells Anne that it is impossible for her to understand what it feels like to leave your family behind to sail in the navy. She is quick to correct him, highlighting that women feel just as much if not more. They have no distraction other than what they feel and there is no distraction to take away from the depth of their feeling. Men cannot assume they are the only ones to love. Captain Harville remarks that the history books all talk about women’s fickleness. Anne states “but they are all written by men.”
Jane Austen gave Anne the voice to disagree; to assert that the female mind is perhaps the most fraught and yet the most resilient. Whilst Wentworth learns about the sea and the harsh realities of men and war in their eight years apart, Anne learns about duty, responsibility for herself and the true power of her own mind. A review in the March 1818 edition of the British Critic praised the realism of Jane Austen’s works, saying that they “display a degree of excellence that has not often been surpassed”. She writes on epic themes but portrays them beautifully in miniature; she creates characters in witty and often satirical manner – and so whatever time or place, we all feel that we know a Sir Walter, Mary or a brooding Captain Benwick.
Something we have focused on is Anne’s reasoning and how it is inextricably linked with how she feels - the two work together and eventually, the conclusions demonstrate a deep insight and understanding of her situation and what must be done in order for her to achieve happiness. The novel is ahead of its time in the sense that it shows the reader that happiness can be found if women are bold enough to find their voices and use them. Persuasion is unique amongst Austen’s novels in that we have the original manuscript chapters – and the alternative happy ending she was striving to find. In Theatre6’s production of Persuasion we explore the biggest journey of our lives - to find love for ourselves, regardless of the love of others. Anne’s love for Wentworth and his unbreakable commitment to her is the conclusion of this timeless story. If we can find love and hold onto it and yet not break the commitment to ourselves – our own voice and our own worth, then love itself is worth having and worth waiting for. Even if the wait spans a lifetime. And just like Anne and Wentworth, we all deserve a second chance.
***Theatre6’s Persuasion runs from 17 April – 20 May 2018 opening at London’s Playground Theatre and touring to Dorchester Arts (Dorset), Marine Theatre (Lyme Regis), The Hat (Brighton), Theatre Royal Windsor and the Mill Studio in Guildford. For more information and bookings on this production of Jane Austen's Persuasion visit www.theatre6.co.uk/whatson.