A User-Driven Site for Theater in Atlanta, Georgia
Sense and Sensibility

a Comedy
by Kate Hamill

COMPANY : Synchronicity Performance Group [WEBSITE]
VENUE : Peachtree Playhouse
ID# 5140

SHOWING : September 22, 2017 - October 15, 2017



The Dashwood sisters are in a precarious position (and at the center of gossip) after the sudden death of their father.  Practical Elinor and playful Marianne must both find husbands to secure their finances and social standing. But finding love in a society where appearances are everything can be...well, it’s complicated.  Jane Austen’s beloved novel is brought to life with a sparkling contemporary voice in Kate Hamill’s bold, theatrical adaptation.

Director Rachel May
Elinor Dashwood Shelli Delgado
Mrs. Jennings, Gossip, Doctor Robert Lee Hindsman
Mrs. Dashwood, Anne Steele, Gossip Marcie Millard
Margaret, Lucy, Gossip Michelle Pokopac
John Dashwood, Gossip, Sir John Middleto J. L. Reed
Marianne Dashwood Jennifer Schottstaedt
Colonel Brandon, Gossip Bryant Smith
Edward, Robert, Gossip Justin Walker
Click to Submit Cast & Crew Info for this production


Nonsense and Sensibility
by playgoer
Saturday, October 7, 2017
There are a lot of silly touches in Synchronicity’s production of Kate Hamill’s "Sense and Sensibility" -- actors playing dogs, actors slyly moving set pieces as a scene proceeds, actors picking up other actors to move them, a basket of yarn turning into a puppet. These touches don’t detract from the production; they add a light-hearted tone and insert movement into what could easily be a talky rendition of Jane Austen’s plot. The ever-changing stage pictures designed by co-movement designers Ashley Anderson and Aricka Austin keep things moving, culminating in a beautiful effect of Marianne (Jennifer Schottstaedt) climbing a human pyramid and then falling backward into the arms of the actors making up that dissolving pyramid.

The scenic design by Trevor Carrier and Jordan Jaked Carrier uses a unit set consisting of neo-classical pillars and a building facade’s double door with painted paned windows, leaving the center of the stage bare. Trellises flank the stage, and the wings are disguised by hanging fabric panels, subtly painted with the suggestion of the tree branches that are suspended above them. Set pieces roll on and off, including a chaise on wheels, a table with a fold-up section that approximates a piano, and many chairs. Everything, including the floor of the stage, is painted nicely to blend together. The effect can be quite lovely under D. Connor McVey’s atmospheric lights. Cody Russell’s props and Jordan Jaked Carrier’s costumes add to the visual appeal, with the basic Empire-style white costumes worn by all the ensemble augmented by colorful additions as the actors morph into specific characters.

Rob Brooksher’s sound design is good, featuring scene-changing music composed by Haddon Kime that is beautifully coordinated with the length of the scene changes. The music sounds great when the piano predominates; orchestral voices, however, smack of a synthesizer (not that it detracts from the play itself). Underscored piano, which occurs in a couple of scenes, is balanced beautifully with the dialogue being spoken.

Director Rachel May has encouraged her actors to do wonderful work in delineating characters. Eight of the actors play multiple roles; only Shelli Delgado and Jennifer Schottstaedt, as sisters Elinor and Marianne Dashwood, play single roles and have non-white costumes. They do wonderful work as sensible Elinor and the more flighty Marianne, investing them with emotion and charm befitting the characters. Marcie Millard and Michelle Pokopac create beautifully distinct characters for their non-ensemble roles; Justin Walker does so even with his ensemble roles, transforming his body language and speech patterns to suit whatever role he is currently playing. The only casting that didn’t work for me was Robert Lee Hindsman as Mrs. Jennings. Information in the lobby indicates that Ms. Hamill started writing plays because of the lack of good roles for women onstage. Giving one of the prime female roles to a male seems gimmicky.

Dialect consultant Jan Wikstrom has done a generally fine job in getting realistic English accents out of the actors, despite a few hard r’s and an occasional "thot" instead of "that." A few more lower-class accents for servants would have been welcomed, but the play sounds good overall.

Rachel May has created a production of "Sense and Sensibility" that does honor both to Jane Austen’s plot and characters and to Kate Hamill’s quirky dramatization. Certain plot contrivances seem a bit clunky in terms of the jokiness of the concept, with late revelations that cause a reversal of previous preconceptions of characters requiring a seriousness of intent at odds with the overall tone up to that point. It works in Jane Austen’s staid, but sprightly style, but not quite so well here. Ms. Hamill’s style entertains, but does not engross. Still, Ms. May and her actors and design team can all be proud of their work at Synchronicity in this production of "Sense and Sensibility." [POST A COMMENT REGARDING THIS REVIEW]


Blood at the Root
by Dominique Morisseau
University of West Georgia Theatre Company
Murder Makes the Heart Grow Fonder
by E. Xavier Wheeler
Laughing Matters
Almost, Maine
by John Cariani
Centerstage North Theatre
BattleActs! Comedy Improv Competition
Laughing Matters
Blood at the Root
by Dominique Morisseau
University of West Georgia Theatre Company
Daddy Long Legs
by John Caird (book) and Paul Gordon (songs)
The Legacy Theatre
Laughing Matters Winter Wonder Laughs
Laughing Matters
Midnight at the Masquerade
by The Murder Mystery Company
The Murder Mystery Company in Atlanta
Murder Makes the Heart Grow Fonder
by E. Xavier Wheeler
Laughing Matters
Stories on the Strand
Atlanta Radio Theatre Company
The Bachelor! A Double Date of Death!
by Marc Farley
Agathas: A Taste of Mystery

©2012 All rights reserved.