Lyndhurst Drama & Musical Society 
Vernon Theatre, Lyndhurst
Darren Funnell 
10 July 2025
What do you get when you combine Jane Austen, high-fives, fan etiquette, and a reference to Toys R Us? You get Pride, Prejudice and Other Useful Qualities. A witty, unpredictable production from Lyndhurst Dramatic and Musical Society, celebrating 75 years of theatrical flair and 250 years of Jane Austen. It’s a clever way of bringing two major achievements together over a free celebratory glass of Prosecco (or two).
Special credit goes to Hannah Rodgers and Richard Barnett, who, in Part 1, brilliantly fuse the 75-year theatrical journey of Lyndhurst Dramatic and Musical Society with a witty, whirlwind tour of Jane Austen’s life, her literary legacy, and the subtleties of Georgian etiquette, not to mention adorable comparisons between Austen’s frequent moves around Hampshire and the vagaries of living in Southampton today.
Into Part 2 and Geoff Bamber’s parody is a fast-paced, tongue-in-cheek romp that skewers Austen’s world while secretly celebrating it. Under the experienced direction of Jenny Green, the production never takes itself too seriously. All simple lighting, flexible staging, and a brisk pace keep the whole affair bouncing along with exactly the right amount of irreverence. It’s charming, self-aware, and refreshingly unfussy. Barnett also contributes a brand-new original song called ‘Prejudice and Pride’ (of course) performed with full-company enthusiasm. It adds a perfectly timed coda to explain what just unfolded. This is useful, given that parts of it feel like a Regency fever dream fueled by passion, lace, and possibly heatstroke.
It’s great to see new faces joining the Society, and Michael Reynolds, giving a vaingloriously heightened Mr Darcy, proves he can give Colin Firth a run for his money. Vic Milne, as Mr Bingley, is lovely as a man who will only accept a wife that his society approves of and had wonderful mastery of the top hat falling over his ears. Annie Cooper channels Regency snobbery like she invented it, all while wearing a turban so grand it may be receiving dispatches from the Prince Regent himself. Phoebe Van der Pauw gleefully bridges Austen and the present day with well-timed tittering high-fives, while Alysha Taylor, playing the “dumpy” sister with infectious charm and zero dumpiness, clearly relishes every moment.
Stephen Feeder and Hilary Causey as Mr and Mrs Bennet brilliantly capture the exhausting reality of living with haw-hawing, shopaholic daughters, balancing the mounting family expenses with a near-desperate hunt to marry them off to any poor chap in the local vicinity brave enough to say yes. It’s like trying to sell off a rapidly depreciating set of Regency-era antiques.
Sarah Short, as Constance the maid, is, once again, a comic gem, hilariously illustrating that social climbing starts with marrying the nearest clergyman – (preferably one desperate enough to propose to anything breathing and planning a fallback career in teaching). Mark Gammon, as the Reverend was clearly having a lot of fun and is a master at the bended knee. Di Buck and Sylvia Hammond as the Bingley sisters are gloriously, unapologetically snooty. “Trade” gets spoken about with such withering contempt it may never recover. Emma Davis brings gusto to Lizzy Bennet, keeping Darcy in his place right up until she graciously accepts him, while Rebecca Harper does a very funny job as Jane Bennet, maniacally predisposed to a “licentious” (eh?) military man.
Di Buck’s costumes are lovely. Layers of Regency finery that transport us straight to the 1800s (though whether you’d want to wear that much clothing in a July heatwave is another matter). Special shout-out to Jo Rainforth for the hair – no doubt benefiting from 21st-century tools rather than the hours (and questionable smells) of Regency-era styling.
Throw in some elegant Pump Room dancing, a flirty fan demonstration, and a thunderous rendition of Bold Sir John, and you’ve got a riotous, loving send-up of Jane Austen, theatre, and the sheer joy of being gloriously ridiculous in very fancy clothes. It’s a cheeky celebration of wit, charm, and demonstrates the power of the bonnet. So, dust off your top hat, practice your curtsies and dive headfirst into an evening that’s equal parts clever, silly, and delightful. It runs for another two nights (Friday 11 – 12 July) at the Vernon Theatre in Lyndhurst. A few tickets are still available so dance along. Bring a fan.
