New perspective on Austen

Mansfield Park challenges our perceptions of the period

Following a rural tour of villages Jane Austen’s Mansfield Park returned to The Watermill theatre garden for an outside production adapted and directed by Tonderai Munyevu and Arne Pohlmeir.

However, this is no saccharine-coated historical costume drama, but rather a bold colourful exploration of class, the place of women in society and the profiteering of the rich sugar plantation owners in Antigua and their involvement in the horrendous slave trade.

The play is told with passion by the impressive, exuberant Two Gents Company, consummate storytellers who skilfully multirole countless characters and adeptly involve the audience in the plot.

Each scene is named after a song and played out on Louise Worrall’s atmospheric set with a large golden picture frame dominating the stage on a raised distressed white platform, with white sparkling cubes representing the sugar trade cleverly used as a variety of furniture.

Impoverished Fanny Price, delightfully played by Nicholle Cherrie, is sent from her humble home in Portsmouth to live with her aunt and uncle at the stately Mansfield Park, where she falls in love with Edmond (Duramaney Karma). She struggles to reject the advances from Henry Crawford, the splendid Wela Mbusi who also gives a captivating camp performance as Mrs Price, in contrast to the powerful slave owner Sir Thomas Bertram.

Anni Domingo is truly outstanding as the enslaved Mary Prince, determined to buy her freedom and find justice for all the black slaves, including writing a book sharing her torturous experiences – beneath it all is blood – real blood”.

Velile Tshabalalia confidently completes the ensemble company, playing six characters.

Rooted in the Zimbabwe culture, the company bring joyous, infectious a cappella singing vibe to the production. But this play challenges our perceptions of the period. Was Austen’s Mansfield Park hidden with stories of the black slave trade? And was James Mansfield complicit in it?

The play emotionally ends on a backcloth with a quote from James Baldwin: “Nothing can be changed until it’s faced.” How profound and relevant for today.

ROBIN STRAPP