Sense & Sensibility The Musical – Arcola Theatre

Sense and Sensibility The Musical was reviewed at the Arcola Theatre, London. The tour continues until 14 September 2025.

Star rating: three stars ★ ★ ★ ✩ ✩

A touch of Regency elegance comes to the Arcola Theatre with Neal Hampton & Jeffrey Haddow’s Sense & Sensibility The Musical as part of the Grimeborn Festival. Even the programme is styled as an 18th century playbill, ironically accessed by a QR code.

In the first few pages of Jane Austin’s novel, the precarious nature of being a woman in the late 18th century is laid bare. The passing of Mr Dashwood is marked by the cast singing a luscious mass. This segues neatly into the chorus ‘Anxiety in Society’, which heralds the Dashwood sisters’ descent into genteel poverty. There is a good attempt at Regency manners during this chorus as the characters bow to each other, but as this occurs in time to the music, it leads to manic bobbing; less would have been so much more.

Rachael Liddell, a poised Elinor Dashwood, depicts emotional reserve while also conveying her inner turmoil to the audience. Her Act II lullaby, ‘Cry Baby Cry’,  is beautifully sung and allows the depth of her emotions to flow.

Elora Ledger, who has produced the show and designed the costumes, also plays Marianne Dashwood and Lucy Steele. She is a wildly emotional Marianne, and some of her higher singing is somewhat wild and edgy for the intimate space, and just like Marianne, this could be better tempered to the situation. Her patter song as Lucy, ‘with Lucy by your side’, is sharp and funny. Her period costumes (think Bridgerton) are clever, with layers of chiffon or silk being added or removed to denote rises and falls in fortune or a character change.

The multi-talented Alexandra Cowell is the director and also plays Mrs Jennings and Fanny Dashwood, and others. She embodies each of her characters convincingly. As Fanny, she has a commanding, sonorous tone, and as Mrs Jennings she is breathlessly hysterical but sometimes a wee bit shrill, which again could be tempered to suit the space.

James Beddoe’s Edward Ferrars is a sensitive soul; his duet with Elinor, ‘A Quiet Life’, is one of the highlights of the evening. John Faal is a commanding presence as both Colonel Brandon and Mr John Dashwood. He gives a powerful and emotional rendition of ‘I once knew a girl’.

Matthew Tilley has the tricky task of playing the kindly Sir John and turning on a sixpence to play the charming baddie Willoughby, which he does with conviction and a twinkle. His ballad, ‘He was a jolly sailor’, sung with Ledger’s Marianne, is stirring.

The rich score is played by musical director Guy Murgatroyd (piano), alongside Felicity Broome-Skelton (violin) and Daryl Giuliano (cello). The soaring cello and violin enhance many of the songs, while the agitated music during Marianne’s fever adds to the drama. There is some soggy dialogue, particularly in Act I, but generally the story is well told, driven forward by the strongly sung choruses. It is worth catching this 2012 melodious musical, which is full of great songs.

Effie Gray