“SENSE AND SENSIBILITY,” through June 2, Hale Center Theater Orem, 225 W. 400 North, Orem (801-226-8600 or haletheater.org); running time: 2 hours, 30 minutes (one intermission)
OREM — In a world where “LOL” and “lit” are used more than words like “amiable” or “conjecture,” listening to Jane Austen’s vernacular requires a mental shift. Hale Center Theater Orem’s “Sense and Sensibility” creates an environment in which the linguistic leaps and character connections make a little more, well, sense.
Upon the death of their father, three Dashwood sisters are left with little and move from the family estate to a cottage in another county with their mother. The move takes the ever-so-practical Elinor Dashwood, played by Malia Mackay (T/Th/S cast), away from Edward, her half-brother’s brother-in-law, but demure Elinor is hopeful Edward will visit and that their chemistry will continue.
Marianne, played by Sariah Hopkin Humphreys (M/W/F), is the emotional and romantic sister. Though her ebullience quickly catches Colonel Brandon’s eye in their new stomping grounds, it’s Mr. John Willoughby, played by Alexander Woods (M/W/F), who sweeps Marianne off her feet. (He actually helps her off her literal feet when Marianne sprains her ankle, before he sweeps her off her metaphorical feet, but it doesn’t really matter which feat came first.)
As Elinor, Mackay is thoughtful and composed with just enough nuance for the audience to understand her character’s true feelings, and Humphreys sweetly balances the sister act without being annoyingly opposite.
Marianne breaks lots of societal rules of the late 1790s, like being with Willoughby without a chaperone (gasp!), and gossip spreads quickly. But one day Willoughby takes off unexpectedly for London. Dismay and confusion, of course, follow.
Meanwhile, Elinor learns that Edward, played by Cleveland McKay Nicoll (single cast), is secretly engaged to Lucy Steele, a cousin of a cousin of a cousin, also leaving Elinor devastated. Whatever should sisters do?
Common sense would dictate they stay up all night analyzing the situation as they cross-stitch their pain away.
But as we’ve all learned, common sense is not so common, especially in matters of the heart — and the family. Elinor puts up a facade of disinterest, partly because she promised to keep Lucy’s secret but also because it is her personality to bury her feelings. Elinor assumes Marianne and Willoughby are engaged, despite his abrupt departure, but never musters a reason to bring the subject up — and Marianne stays mum on the topic, too.
As the cousins who offer their cottage to the Dashwoods, Bryan Dayley (single cast) and Julie Suazo (T/Th/F) are perfectly tacky. (You know the type: hilarious to watch but awful to converse with during family reunions.)
Speaking of cousins, the show’s program showcases a cheat sheet of the different characters’ relationships along with a story synopsis. While the genealogy isn’t overly daunting, understanding who’s who makes the story — and some of the situations — more entertaining.
To further help theatergoers, cast members maneuver conversing actors in chairs to emphasize underlying emotions — a move that turns (sometimes literally) subtle situations into straightforward exchanges. With each scene change, a phrase is flashed on the walls (“Marianne’s Future,” for example), which gives the audience context.
The production, which runs through June 2, presents several other clever details and executions, like Rachel Bigler (single cast) playing Fanny Dashwood and Lucy Steele — both antagonists in the story. So what happens when they meet each other and later get into a fight? Nothing a quick costume adjustment can’t handle to create snicker-worthy scenes.
“Sense and Sensibility” is delightful drama-comedy; it doesn’t offer constant LOLs, but there are plenty of grins and giggles in this amiable production. One might conjecture otherwise, but it’s a pretty lit show.
Content advisory: No objectionable content, although the era-specific language and social situations might be hard for children to understand.