Although there is peril in describing the current attention devoted to English novelist Jane Austen as a mania, that seems like an almost unavoidable conclusion. From the popularity of Jane Austen Regency Balls, Jane Austen Festivals in the UK and the U.S., not to mention a plethora of film and television projects in addition to the literature itself, the author’s fanbase is arguably second only to The Bard in the 21st Century. The fact that 2025 is the 250th anniversary of Ms. Austen’s birth has only added fuel to the fire of that attention.
Certainly a contributor to that attention is actress and playwright Kate Hamill whose stage adaptation of Austen’s first novel, Sense and Sensibility, opened Clarence Brown Theatre’s 2025-26 season this past weekend. Ms. Hamill has become something of a specialist in not only adapting 19th Century literature for the stage, but also in taking leading roles in the adaptations. In the case of the Off-Broadway premiere of Sense and Sensibility, she originated the role of Marianne Dashwood. Of course, such a combination of duties is not exactly rare. One is reminded that actress Emma Thompson wrote the screenplay for Ang Lee’s 1995 film adaptation of Sense and Sensibility in which she took the role of Elinor Dashwood.
Hamill’s adaptation, directed here by UT Theatre faculty professor Casey Sams, is an energetic, if incomplete, take on Austen’s plot that presents the period’s strictures and foibles, skillfully suggesting, but leaving the ultimate judgement of character—right and wrong—to the audience. Kicking off that plot is the issue of primogeniture: upon the death of their father, the Dashwood sisters are left penniless by their eldest brother, who, by law, inherits the estate, leaving “marrying up” as the sisters’ only means of survival.
Sensibility’ – Photo: Le Anna Jacobson
Against this background comes the period environment for Austen’s two romantic entanglements of the older Dashwood sisters, Elinor (McKinley Merritt) and Marianne (Develyn Jayan). Elinor’s complication is with the disowned Edward Ferrars (Clay Cooper) and his promised fiancé, the conniving Lucy Steele (Yashashvi Choudhary). Marianne’s romantic dilemma involves her desires for the ethically and morally challenged John Willoughby (Denzel Dejournette), despite admiration from the solid Colonel Brandon (Sammy Pontello).
In perhaps a twist on the Greek Chorus idea, the adaptation uses an ensemble of the actors in secondary roles to humorously suggest the hypocrisy of social class society. Duly called “gossips” and costumed in shades of beige, the ensemble supplies not only the comic exposition, but also charming segues in which they become carriages with umbrellas as wheels, horses drawing those carriages, and barking dogs out on a walk.
Notably, this Hamill adaptation is chock full of theatricality via its gently offbeat sense of satire. As a result, its ideal audience may be those who are unfamiliar with either the Austen novel or one of its film versions. To that point, the characters of Elinor and Marianne seem to lack the fleshed out motivations or passions one fully expects from Austen or a vividly painted portrait of the Dashwoods’ lifestyle or romantic dilemmas. This puts a real burden on the actresses taking the roles, as well on their male romantic interests who must also make their intents credible.
Having said that, CBT’s Sense and Sensibility is, nonetheless, quite the vehicle for some of its secondary roles. Hailing from a cast of MFA candidates, undergrads, and returning alumni and professionals, Gabriela Bulka was a standout as the strange Mrs. Jennings, creating a character that was both dazzled and frazzled. Sammy Pontello was an appropriately ethical Colonel Brandon who delivers the riveting exposé of Willoughby. Once again, the multi-faceted David Brian Alley as Sir John Middleton has made comic cluelessness a theatrical virtue. As the heartless brother John Dashwood, Robert Parker Jenkins made a comically convincing argument for impoverishing his sisters. As the younger sister Margaret, Ace Buckner was the essence of barely restrained energy.
Scenic designer Sophie Smrcka mixed a few visual metaphors in offering an attractive space for both interiors and exteriors—one in which a background of steps and period window frames served to set up the moving on and off of period chairs. Dylan Tillery’s lighting defined locations and emotions, while Tori Niemiec’s costumes defined characters and made them individuals.
Despite the above reservations, CBT’s Sense and Sensibility is a worthwhile addition to the Jane Austen experience, its visual and dramatic style truly entertaining and unique. The production runs through October 5 at Clarence Brown Theatre on the UT campus. Check here for tickets, calendar, and information.
