In 2014, one of Jane Austen’s best-known period romances, Sense and Sensibility, received a respectfully humorous makeover by playwright Kate Hamill. I had the great pleasure of seeing The City of Fairfax Theatre Company’s (CFTC ) production of this version over the weekend. Presented as a dram atic comedy, Hamill’s adaptation maintains the core of the classic’s emotional stakes and story but infuses the text with a more modern, playfully dynamic, and fast-paced feel. And instead of the omniscient narrator focusing on the internal thoughts of the characters, the play externalizes them into action and vocalizes them loudly and without apology. For those unfamiliar, the story is set in England in the 1790s and follows the Dashwood sisters, after their father’s sudden death leaves them without a home and at the mercy of their half-brother and his horrid, greedy wife. There’s the promise of love and struggle to navigate the strict social structures of the era. In Hamill’s interpretation, those societal pressures (which pervade all of Austen’s works) are manifested with exposition and narration by a chorus of gossips, highlighting the absurdity and irrational expectations of seeming perfection that was required of women at the time. Ali Lightfield as Marianne Dashwood and Ruth Pascoe as Elinor Dashwood in ‘Sense and Sensibility.’ Photo by Mindy Ratcliff, The Little Photo Shop. Stepping into CFTC’s Blackbox theater, the audience is immediately greeted with a musical compilation by Camden Daly that gives Bridgerton vibes, setting the perfect tone with classical arrangements of contemporary music. The stage is small, surrounded by tiered seating, and contains a table, some chairs, and other portable items that Elizabeth Suzanne makes use of in her direction of the work. With the support of dance and transition choreographer Victoria Jungck, using wheeled chairs, mannequins, and continuous movement, Suzanne conceived an unexpectedly hilarious and deeply emotional experience that had me laughing and/or crying from start to finish. Ruth Pascoe as Elinor and Ali Lightfield as Marianne were perfectly matched and an absolute joy to watch as the Dashwood sisters. Pascoe masterfully conveyed the restraint of Elinor as the older, level-headed sibling, who manages to retain her composure despite the pain of losing her father, developing an unrequited love of sorts, and having her misery paraded in her face with arrogance and indifference. In contrast, Lightfield embodied Marianne’s vigor and lust for life with genuine passion and unadulterated innocence. Having read of and adored Jane Austen’s protagonists for decades, witnessing Pascoe and Lightfield bring these women to life was truly magical. Opposite the eligible, though unfortunately situated, Dashwoods are the assorted love interests and should-be suitors: Ryan Kirby portrays Edward Ferrars, with subtle charm and humility; Michael McCarthy is dashing and swooningly poetic as John Willoughby; and Amanda Komar brings a kind-hearted and pensive depth to Colonel Brandon. Lightfield’s Marianne and McCarthy’s Willoughby have incredible chemistry and leave none to wonder why the kindred spirits are whisked into a fairytale romance with reckless abandon. But, as was common for the time, the connection proves no match for the desire for wealth and status. And the heartbreak Marianne endures is painted vividly by Lightfield and guts the audience right with her. The self-proclaimed matchmaker, Mrs. Jennings — who is already a brazenly overbearing, albeit well-meaning, busybody in Austen’s original text — is perfectly actualized by Brad Newberg. He gusted into every scene with joyful, chaotic energy that brought levity and balance to the otherwise heartrending plot. And his interpretation of Mrs. Jennings’ enthusiastically affected voice is the stuff of scene-stealing legend. I do not doubt that Newberg could entertain the masses with a solo show entirely based on this portrayal. Carriage ride. Front: Ryan Kirby, Annie Brock, and Amanda Komar; back: Yasmin Abuwi, Brad Newberg, Ali Lightfield, Michael McCarthy, and Anna Marquardt in ‘Sense and Sensibility.’ Photo by Mindy Ratcliff, The Little Photo Shop. The ten member ensemble doubled in various roles to complete the cast of characters — including carriage horses and rambunctious dogs — with lightning-quick transitions and sometimes mid-scene persona changes. One moment in particular required Annie Brocka, acting as both the snobbish Fanny Dashwood (the sister-in-law from hell) and the insufferably oblivious Lucy Steele, to engage in a hilarious argument with herself. And in Hamill’s update, the woman chose violence. With the use of a mannequin, extraneous costume pieces, and massive skill, Brocka delivers an impressive physical altercation, wrestling herself to the ground yet somehow managing to maintain complete control over each character’s intolerable individuality.  Rounding out the stellar cast are Sally Ann Flores as the generous and jovial Sir John Middleton (and others), and Yasmin Abuwi shows her versatility as the youngest Dashwood sister, Margaret, with angelic youth, and as the ancient and decrepit elder, Mrs. Ferrars. And while I feel like there should be a limit to the amount of praise heaped on a single production, I cannot fail to mention Jungck’s skillfully crafted curtain call, which had the most beautifully fun and elegantly choreographed bows that I have ever witnessed. Every detail of the entire piece of theater was planned and executed with precision, passion, and an abundance of talent. For the doubters, let me assure you that you do not need to be a Jane Austen aficionado to enjoy this show. Hamill’s Sense and Sensibility transcends genre with its physicality and farcical nature, while honoring the heart and soul of the story. CFTC has taken that play and created a wildly entertaining production that is full of love and laughter, with a lot of heartache along the way. Running Time: Approximately two hours and 30 minutes, with one 15 minute intermission. Sense and Sensibility plays through May 3, 2026, presented by The City of Fairfax Theatre Company, performing at the CFTC Blackbox, located at 11216 Waples Mill Rd. Suite 103, in Fairfax, VA. Tickets are sold out for the remainder of the run but the theater encourages hopeful audience goers to check at the door, prior to performances, for potential cancellations or no-shows to obtain last-minute seating.  Suggested for ages 10 and up. CASTElinor Dashwood: Ruth Pascoe; Marianne Dashwood: Ali Lightfield; Margaret Dashwood / Mrs. Ferrars Others: Yasmin Abuwi; Mrs. Dashwood / Anne Steele Others: Anna Marquardt; Fanny Dashwood / Lucy Steele Others: Annie Brock; Edward Ferrars / Robert Ferrars Others: Ryan Kirby; John Willoughby / John Dashwood Others: Michael McCarthy; Colonel Brandon Others: Amanda Komar; Mrs. Jennings: Brad Newberg; Sir John Middleton Others: Sally Ann Flores PRODUCTION TEAMDirector: Elizabeth Suzanne; Producer: Courtney Marsh; Stage Manager: Brianna Lau; Dance and Transition Choreographer: Victoria Jungck; Assistant Stage Manager: Meg Dombro; Set Design, Construction, Painting: Peter Marsh; Costume, Hair, and Makeup Design: Tea Divine; Lighting Design: Stacy King; Sound Design: Connor Lugo-Harris; Props Design: G Weiss; Dramaturg: Michelle Flanagan Moore; Movement Specialist: Stacey Yvonne Claytor; Dialect Coach: Alden Michels; Set Dressing/Mannequin Stylist/Fabric Artist: Laura White; Social Media: Amelia Marsh; Photography: Mindy Cookman Ratcliff, The Little Photo Shop; Music Arrangement: Camden Daly; Paint Crew: Yasmin Abuwi, Ali Lightfield, Matthew Caldwell, Elizabeth Suzanne, Matthew Kirchner, Peter Marsh, Christine Connor, Melanie Smedira, Julianna Holland, Courtney Marsh, Annie Brock, Sarah Florack, and Sally Ann Flores ...read more read less