‘Sense and Sensibility’ @ Stolen Shakespeare Guild
—Carol M. Rice
There are few female writers with more devoted readers than Jane Austen. While I have never been a fan of Pride and Prejudice, her most popular novel, I do like the various adaptations of Sense and Sensibility that I’ve seen and been part of over the years. First published anonymously “By A Lady” in 1811, Sense and Sensibility has been adapted for stage and screen by many different authors, perhaps most famously by Emma Thompson for Ang Lee’s 1995 film, for which she won an Oscar.
Jessica Swale’s faithful adaptation of Austen’s novel is currently running at Stolen Shakespeare Guild. The tightly intimate space requires audiences to use their imaginations for the many different locations, but Jason Morgan’s set design is overall functional. Lauren Morgan wears multiple hats for the production as not only director, but also scenic painter, costume designer, and sound designer, and she does them all well. The costumes are especially lovely. Unfortunately, Olivia Hopkins’s lighting design occasionally leaves actors in the dark. (This is a new theater for SSG, and they may be working out the kinks.)
The large cast is firmly anchored by Molly Kessler as Elinor Dashwood, the eldest of the Dashwood daughters. Kessler is perfect in a role that requires her to be subdued, with hidden emotions behind everything she does. Her body language and facial expressions are impeccable, and she is completely believable throughout. Kudos to her for an exceptional performance.
The rest of the Dashwoods – Lynley Glickler as the feisty Marianne, Claire Morgan as the mischievous young Margaret, and Amanda Hawkins as the mothering Mrs. Dashwood – have nice family chemistry. Hawkins is just right as the newly widowed head of the family, but Glickler comes across at times as too angry, and Morgan’s physicality is far too modern, even for one who is “not yet a lady.” She is also at times hard to understand.
The girls’ romantic interests are Cameron Martinez as Edward Ferrars, Blake Hametner as Colonel Brandon, and Gavin Mariscano as John Willoughby. These three gentlemen are a study in contrasts, and their differences are what make them interesting. Martinez’s romantic sincerity with Elinor is lovely, although he often talks too fast. Hametner is a more forceful Brandon than I’ve seen in the past, but the stronger character works well against the spirited Marianne. Mariscano makes the rakish Willoughby likeable even when he’s a cad. Glickler’s different relationships with both of her paramours match their personalities nicely.
Then there are the “bigger than life” characters on the Dashwoods’ periphery. Laura Martin Jones is appropriately gossipy and shrill as Mrs. Jennings, with Gary Payne’s Sir John Middleton as her slightly more grounded sidekick. Kirsty Johnson is a distinctly unpleasant and selfishly greedy Fanny Dashwood, with Ben Plopper as her spineless husband John Dashwood. As Elinor’s rival Lucy Steele, Chloe Carroll plays her just ditzy enough to have us all wondering if she really thinks she’s Elinor’s best friend, or if she’s been pretending all along.
The only two actors playing multiple roles are Bradley Langan as the effusive Robert Ferrars and Mr. Palmer, who gets well-earned laughs for his droll delivery whenever he can fit a word in edgewise, and Tasha Gaftea as the raucously overpowering Mrs. Palmer and quietly jealous Miss Grey.
Rounding out the cast in a number of small roles including Thomas, Mr. Perks, Dr. Harris, and all servants and messengers is Jason Morgan, who makes the most of his limited stage time by stealing each scene he’s in.
Sense and Sensibility is a long novel, and Stolen Shakespeare Guild’s production clocks in at nearly two and a half hours including intermission. But Lauren Morgan’s strong direction and appropriate pacing doesn’t make it feel that long. If you’re looking for a traditional staging of Sense and Sensibility, you should check it out.
WHEN: February 6-22, 2026
WHERE: 3623 Decatur Avenue, Fort Worth
WEB: stolenshakespeareguild.org
