One of the delights of TheatreWorks Silicon Valley’s joyous production of “Georgiana and Kitty: Christmas at Pemberley” is how the show works on the most basic levels of comedy.
Basically, it’s funny; very, very funny.
But that’s not all it is. The laughs are plentiful, accentuated by whip-smart actors who calibrate phrases leading to lots of pauses for audience uproar. Those laughs are balanced with real world issues, and an longing for these gentlewomen locked into the suffocating zeitgeist of early 1800s British Regency.
The profound pens of Lauren Gunderson and Margot Melcon bring Jane Austen’s world to life, a world that scares the bejesus out of uber-talented Georgiana Darcy (Emily Ota). She is a piano composition savant, yet cowers when it comes time to push toward any kind of territory that forces her to use her agency.
The same can’t be said for Kitty (Kushi Beauchamp), Georgiana’s best friend full of adventurous ideas, one whose generosity knows no bounds. Affairs of the heart have their place in Kitty’s world, yet Georgiana has neither the time or confidence to engage; the box that contains 88 keys is a much more solvable puzzle than is love.
Others in this enmeshed world provide dutiful delight, each contributing sets of guffaws and giggles all over the drawing rooms that make up this Austen-stylized world. Those include Elizabeth (Amanda Pulcini) who advocates mightily for Georgiana, despite her husband Fitzwilliam’s (Jordan Lane Shappell) overbearing nature, rooted in protecting his little sister despite flashing his misogyny too many times.
Others who contribute with bliss to the proceedings are the spry Lydia Wickham (Jenny Nguyen Nelson), eldest sister Jane Bingley (Monique Hafen Adams) and quick-witted Mary (Maria Marquis).
But what is an Austen story without conflicts of love and heartbreak? There is a gentleman who seems perfect for Georgiana — the devilishly handsome charmer Henry Grey (Nima Rakhshanifar). Yet he doesn’t come into the fold with a fully transparent slate, activating the rancor of Fitzwilliam, who hovers between passionate protector and insufferable louse. Proprietor of vapidity Thomas O’Brien (William Thomas Hodgson) tries to help the situation while also becoming particularly smitten with Kitty.
It’s easy to dismiss the play as holiday fare, especially considering that outside a few references used sporadically, the play can be set during any part of the year. The play is delightfully formulaic, thanks to the warmth and joy inside the story, directed with sharp strokes by Giovanna Sardelli. Those strokes make the journey as delightful as peppermint hot cocoa. The cast deftly plays a very specific style, where flair carries serious social capital.
Each cast member takes a turn having their moment in the spotlight, but it’s the magnificent performance of Ota that rockets the play’s ascendance. Georgiana is a role of range — the highs shatter the ceiling, but the lows shatter the soul. It is Ota’s responsibility to dispose of every low expectation thrown her way, but as her Georgiana continues to fight off the incoming, the outgoing gets more powerful with each sleight that bends, but never breaks her.
Other acting turns carry loads of fun within that style. Hodgson is masterful at delivering lines featuring caloric emptiness with great comic success. Nelson’s Lydia hilariously fights her way to get in the mix, as Beauchamp parries with ease, impeccably listening to move fluidly throughout every single one of her realities. Shappell is a terrific Fitzwilliam, equal parts giddy and grating.
The Regency world is mightily assisted with technical touches, beginning with Andrea Bechert’s hyper-detailed scenic design and Cathleen Edwards’ lush costumes. James Ard, one of the Bay Area’s best audio practitioners, is just straight flexing. What does KPop Demon Hunters have to do with Jane Austen? You have to watch and listen to find out.
The play is not without its faults. There is much necessary action that Georgiana’s budding leadership abilities must face, and her brother certainly doesn’t want to see her hurt. His growth can be forgiven when it comes to supporting Georgiana’s music dreams, but the play’s inability to un-ring that misogyny bell lets Fitzwilliam off the hook a little too easily.
When Georgiana finally finds her voice through her instrument, and thunders that strength toward male dominated societies that want to keep her down, it has an impact. Telling her brother “I think you fear me,” is a powerful sentiment, and a reminder that when Georgiana writes her compositions, it doesn’t matter that she is a woman or a man. Frankly, she was just better than everyone else.
David John Chávez is chair of the American Theatre Critics/Journalists Association and a two-time juror for the Pulitzer Prize for Drama (‘22-‘23); @davidjchavez.bsky.social.
‘GEORGIANA AND KITTY: CHRISTMAS AT PEMBERLEY’
By Lauren Gunderson and Margot Melcon, presented by TheatreWorks Silicon Valley
Through: Dec. 28
Where: Lucie Stern Theatre, 1305 Middlefield Road, Palo Alto
Running time: 2 hours, 15 minutes with an intermission
Tickets: $34-$115; theatreworks.org