Review: Pride & Prejudice
Picture: QTC rehearsal and production photography by Stephen Henry (NOT A Creative Futures Photography image).
Having now had the opportunity to see Pride & Prejudice, the latest show in the 2026 Queensland Theatre Company (QTC) season, I can see why QTC Season Tickets are in demand. QTC is on fire this season, with yet another popular production virtually selling out. Consistently topping ‘most-loved’ book lists, and regularly featuring as a set text, it is likely that there are very few ‘dear readers’ who are not familiar with Jane Austen’s Pride & Prejudice. However, the popularity of this lively QTC production—first staged in 2025—is thanks to the work of a strong cast and the skills of an impressive creative team, who together bring the words and thoughts of 19th century couples into the present day.
The QTC Pride & Prejudice is a story for our time, with reminders of the importance to seek out the facts before drawing conclusions—a strong message that is as relevant to the AI and social media generation as it was to Austen’s earliest readers. Working in close collaboration with Co-Adaptors Wendy Mocke and Lewis Treston, and with Dramaturg Saffron Benner, Co-Directors Bridget Boyle and Daniel Evans have delivered a fast-paced contemporary take on a well-loved Regency romantic comedy of manners. Boyle, Evans and their collaborators have managed to walk the tightrope of pleasing many avid fans of a novel that draws on close observation of 1800s’ social niceties and boundaries, while also referencing the music, colour, and dance of the 21st century.
Designer Christina Smith ensures that the QTC Pride & Prejudice is a visual feast—including the colourful costumes, ever-present gardens, and thanks to the charming use of models to portray the different houses (and that memorable coach journey). The gradual shift during the production—from the bright and brash colours of ‘society,’ through to the clarity of the spotlit ‘letter reading’ moment, and the final stepping into the garden for the lover’s reconciliation and rose-coloured marriages—is a clever use of design and lighting (of which, more later). The ‘backdrop’ of the ‘wooden doors’ works well for the quick changes of scene from walks through different gardens and into the interiors of ballrooms and salons. And I particularly admire the use of seasonal references to structure the production, where the seasons were introduced through devices such as the autumnal wheelbarrow, redcoat ‘spring,’ and summer fans.
The excellent music (Guy Webster, Composer and Sound Designer), lighting (Jason Glenwright, Lighting Designer), and choreography (Nerida Matthaei, Intimacy Coordinator, Choreographer and Movement Director) are key in bringing a contemporary feel to the production. The second half opening ‘ladies rave’ was a little jarring, the sound levels were occasionally a little high, and I would personally have cut back some of the dancefloor segments. But all the dance moves were clever, entertaining, and clearly crowd-pleasing.
Although the music and dance are fun, my favourite Pride & Prejudice moments are the drama and comedy—including some excellent stage business with a barking dog and whip-cracking coach ride. The two protagonists, Elizabeth Bennet (Maddison Burridge) and Fitzwilliam Darcy Esq (Andrew Hearle), are very well-cast. Hearle is a charming and restrained Darcy, and a dashing counterpoint to Burridge’s feisty, funny, vivacious, and determined Elizabeth—which makes the ‘realisation’ moment at which Elizabeth reads Darcy’s letter, spotlit in the dark as the snow falls, even more powerful. It is almost a pity that the show doesn’t end with Elizabeth’s realisation that she has misjudged Darcy’s character—and Darcy’s realisation that he could make amends for his early advice to Mr Bingley (William) and ensure an honourable marriage of Lydia Bennet (Zoë Schramm) to Wickham (Jeremiah Wray). But halting at this standout moment would mean that the audience doesn’t get to ooh and ahh over the garden denouement and closing rose-tinted weddings (tears were shed by some members of the balcony audience).
Burridge and Hearle are strong leads, but I also have special mentions for performances by Bryan Probets (Mr Bennet/Sir William Lucas/Ensemble), Chenoa Deemal (Mary Bennet/Mrs Gardiner/Mrs Hirst), and Perry Mooney (Jane Bennet/Ensemble). Proberts’ Mr Bennet was an excellent blend of a weary husband, and proud father who is happy to acknowledge his mistakes. Mooney does an excellent job in portraying Jane’s roller-coaster of emotions, and I really enjoyed Deemal’s delivery of Mary Bennet’s dry observations. But there wasn’t a weak performance in this show: Gael Ballantyne entertains as a suitably ferocious Lady Catherine; William Carseldine is a charming Mr Bingley; Zoë Schramm’s Lydia Bennet is a believable immature new wife; Daphne Chen is a quiet Kitty Bennet; and Cameron Hurry made the audience chuckle at the portrayal of an over-exaggerated, obsequious and pompous Mr Collins. As the Tuesday evening production had a 30-minute delay, and a brief announcement confirming that Janaki Gerard (Cover), would be taking to the stage to ensure that the show might go on, I add my warm congratulations to Gerard, who stepped in at short notice in the roles of Charlotte/Ms Bingley/Ensemble.
Looking at fellow members of the audience at this week’s show, I was impressed to see large groups of younger adults sitting alongside seasoned QTC fans. Perhaps Bridgerton and Hamilton have contributed to popularising shows that cleverly blend the old and new? Or it might just be that the success of the 2025 QTC run built a demand for tickets—from those who were not able to see the Cyclone Alfred-affected show, and by those who just wanted to experience the production for a second time. I can see that QTC might just pick up a few more Matilda Awards for this latest show. I also hope that they might be able to take Pride & Prejudice on the road, perhaps to grace festival programs in other Australian cities.
Audience information: Pride & Prejudice, Playhouse, QPAC, Southbank (10-26 July 2026). Warnings note that the production contains mild adult themes, theatrical smoke and haze, and strobe lighting (12+ suggested). 150 minutes, including a 20-minute interval. Tickets $79-139, plus $7.50 booking fee (QTC season tickets also available). If you do have the chance to buy a ticket for this show, I strongly recommend buying a seat in the stalls, rather than looking down from the balcony.
Additional Credits: Elise Greig (Cover), Stephen Hirst (Cover), Gabrielle Rogers (Voice and Dialect Coach), Nat Ryner (Costume Supervisor), Maddison Penglis (Stage Manager), Tia-Hanee Cleary (Assistant Stage Manager), Riley Montesin (Stage Management Secondment, QUT), Amy Ingram (original cast member in the roles of Charlotte/Ms Bingley/Ensemble). Several cast members also perform in additional roles to those noted in the review, above, including Jeremiah Wray (also Colonel Fitzwilliam and Mr Gardiner), Gael Ballantyne (also Mrs Bennet and Housekeeper).
The reviewer attended the 21 July 2026, 6:30pm performance.
Picture: QTC rehearsal and production photography by Stephen Henry (NOT A Creative Futures Photography image).