Promise and Promiscuity: a New Musical by Jane Austen and Penny Ashton

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MEDIA RELEASE: For Immediate Release Penny Ashton presents… PROMISE AND PROMISCUITY: A NEW MUSICAL BY JANE AUSTEN AND PENNY ASHTON “PRIDE AND PREJUDICE GONE WILD IN THE BEST WAY” Rip it Up, Adelaide It is a truth universally acknowledged that a woman in possession of a theatre script...must be in want of an audience. Charmingly accomplished Penny Ashton (Hot Pink Bits/ Radio New Zealand) mashes up Beethoven, bonnets and big balls…with alacrity! Fresh from three years of huge global success where it has garnered numerous awards, sold-out houses and standing ovations from Edinburgh to Adelaide to Mosgiel, comes Miss Ashton’s theatrical triumph for its Wellington debut at the legendary Circa Theatre. A venue she feels very privileged to be welcomed into. Follow the fortunes of Miss Elspeth Slowtree as she battles literary snobbery, cousin Horatio's digestions and her mother's nerves, armed with a blushing countenance, excellent ukulele skills and being quite bright - you know… for a girl. One Kiwi tackles all of Austen's characters with song, dance and appalling cross-stitching. “…somewhere Jane is smiling.” !!!!! Edmonton Sun 2014 “…you’ll be delighted whether or not you know your Bennets from your Dashwoods.” !!!!! Canadian Broadcasting Corporation 2014 “… Pride and Prejudice gone wild in the best way.” !!!!! Rip It Up, Adelaide 2015 “…Razor-sharp wit.” !!!!! Three Weeks, Edinburgh 2015 “…a sparkling performer..” !!!! The Scotsman 2015 WINNER: BEST PERFORMANCE IN A COMEDY, AUCKLAND FRINGE / PATRON’S PICK, WINNIPEG FRINGE / BEST THEATRE WEEK THREE, ADELAIDE FRINGE Penny Ashton is NZ’s own global comedienne having performed over 500 solo shows all over the world. She has represented New Zealand in Theatresports and Performance Poetry and has performed by invitation at The Glastonbury and Jane Austen Festivals. She is a regular and original panelist on Radio NZ National’s The Panel and is a busy marriage celebrant. She also recently discovered she is related to Jane Austen’s rumoured flirtation, Thomas Langlois Lefroy. She is his 5th Great Niece! (This story is told in Becoming Jane with Anne Hathaway). To complete the fairytale ending Ashton is also taking a few weeks out of her March schedule to live the Austen dream and get hitched herself. WELLINGTON Dates: 3 May – 21 May (No shows Mondays or May 14) Venue: Circa Studio, Circa Theatre Tickets: $25 to $35 Bookings: 04 8017992, www.circa.co.nz For more information contact: Name: Penny Ashton Phone: 0272966883 Email: [email protected] Website: www.hotpink.co.nz .

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Play Guide Table of Contents
PLAY GUIDE TABLE OF CONTENTS ABOUT ATC 1 INTRODUCTION TO THE PLAY 2 SYNOPSIS 2 SONG LIST 3 MEET THE CHARACTERS 4 MEET THE CREATORS: PAUL GORDON AND JANE AUSTEN 5 INTERVIEW WITH PAUL GORDON 7 THE NOVEL IN THE MUSIC 9 POLLOCK’S TOY THEATRES 11 LITERARY CATEGORIZATION OF AUSTEN 12 LITERARY TIMELINE 13 THE AUSTEN INDUSTRY 14 AUSTEN IN POPULAR CULTURE 15 FEMINISM IN EMMA 16 THE EMMA DEDICATION 18 HISTORICAL CONTEXT 18 HISTORICAL TIMELINE 22 DISCUSSION QUESTIONS AND ACTIVITIES 23 Jane Austen’s Emma Play Guide written and compiled by Katherine Monberg, Literary Assistant, and R Elisabeth Burton, Artistic Intern Discussion questions and activities provided by April Jackson, Associate Education Manager, Amber Tibbitts and Bryanna Patrick, Education Associates Support for ATC’s education and community programming has been provided by: APS JPMorgan Chase The Marshall Foundation Arizona Commission on the Arts John and Helen Murphy Foundation The Maurice and Meta Gross Bank of America Foundation National Endowment for the Arts Foundation Blue Cross Blue Shield Arizona Phoenix Office of Arts and Culture The Max and Victoria Dreyfus Foundation Boeing PICOR Charitable Foundation The Stocker Foundation City Of Glendale Rosemont Copper The William L and Ruth T Pendleton Community Foundation for Southern Arizona Stonewall Foundation Memorial Fund Cox Charities Target Tucson Medical Center Downtown Tucson Partnership The Boeing Company Tucson Pima Arts Council Enterprise Holdings Foundation The Donald Pitt Family Foundation Wells Fargo Ford Motor Company
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Sydney Studies Becoming Jane Becoming Jane: Adapting Female Authority DYALAN GOVENDER Sarah Williams, Kevin Hood, and Julian Jarrold's Becoming Jane (2006)1 can be described as both a biopic and an adaptation. Its title refers to Jon Spence's biography, Becoming Jane Austen (2003), and it brings to the screen both Spence's text and Jane Austen's authorial persona. In this paper I wish to explore how some of the alterations made, as text becomes film, are mediated by the film's structure. Of particular interest is the film's characterisation of Jane Austen's family relations and the way in which it reflects the film's approach to her gender and authority. While the familial influences found in Spence's text are displaced by the film's focus on romance, the film also carefully enacts the characters' individual gazes so as to express Jane's authority in relation to patriarchy. 'Becoming Jane' as adaptation. Film biopics and adaptations share a common set of relations between text and source. Both distil and dramatise their sources—a life and a source text respectively. It is not so much a question of treating Becoming Jane as either a biopic or an adaptation, it is simply a matter of what light Spence's text can throw on the film. This approach is informed by Marie- Claire Ropars' view of adaptation studies, which argues for the necessity of evaluating cinematic adaptations, not in terms of their fidelity, or even (as in [George] Bluestone's analysis) in terms of how the cinematic adaptation functions as an autonomous work of 1 Becoming Jane (2006), Miramax Films, dir.
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INDEX Abstract p. 3 Introduction p. 4 1. About this Study p. 4 2. About Adaptations p. 5 Part I – Jane Austen’s Pride and Prejudice p. 9 1. The Author: Jane Austen (1775-1817) p. 9 1.1. Life and Education p. 9 1.2. Historical and Cultural Context p. 12 1.3. Works, Themes and Style p. 15 1.4. Fame and Fortune p. 19 2. The Novel: Pride and Prejudice (1813) p. 24 2.1. Plot p. 25 2.2. Characters p. 27 2.3. Time and Space p. 35 2.4. Major Themes p. 36 2.5. Critical and Contemporary Reception p. 41 Part II – Pride and Prejudice on Screen p. 44 1. Pride and Prejudice (1940) p. 47 1.1. Synopsis p. 48 1.2. First Scenes p. 50 1.3. Main Cast p. 51 1.4. Text and Adaptation p. 53 1.5. Costumes p. 62 2. Pride and Prejudice (1995) p. 65 2.1. Synopsis p. 67 1 2.2. First Scenes p. 70 2.3. Main Cast p. 72 2.4. Text and Adaptation p. 75 2.5. Historical Accuracy p. 82 3. Pride and Prejudice (2005) p. 86 3.1. Synopsis p. 87 3.2. First Scenes p. 90 3.3. Main Cast p. 92 3.4. Text and Adaptation p. 93 3.5. Costumes, Music and Technique p. 106 4. Loose adaptations p. 109 4.1. Bridget Jones’s Diary (2001) p. 110 4.2. Bride and Prejudice (2004) p. 113 4.3. Lost in Austen (2008) p. 116 Conclusions p.
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1775 on 16 December, Jane Austen, the Seventh of Eight Children Of
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Becoming Jane Cover
Discussion guide developed by Heartland Truly Moving Pictures to accompany Becoming Jane, a Truly Moving Picture Award-winning lm. A Truly Moving Picture Award winner is a lm that unlocks the vast potential of the human spirit and enables us to view stories that display courage, integrity and hope, taking entertainment to a higher level. www.TrulyMovingPictures.org One Film Can Heartland Truly Moving Pictures, a non-prot organization, recognizes and honors lms and lmmakers whose work explores the human journey by expressing hope and respect for the positive values of life. We believe that one lm can move us to laughter, to tears, or to make a dierence. Becoming Jane is a movie that demonstrates that One Film Can. Synopsis Becoming Jane is an imaginative romantic comedy in the spirit of Jane Austen, which places young Jane herself at the center of a witty, enchanting romance not unlike those that would later captivate millions in her celebrated works of literature. The lm spins the few known facts surrounding Austen’s real-life irtation with the Irish lawyer Tom Lefroy into a tale about the kind of personal passion and social complications that could have inspired Jane to become the ingenious and utterly timeless observer of human relationships that she soon did. The year is 1795 and young Jane Austen (Anne Hathaway) is a feisty 20-year-old and emerging writer who already sees a world beyond class and commerce, beyond pride and prejudice, and dreams of doing what was then nearly unthinkable – marrying for love. Naturally, her parents (Julie Walters and James Cromwell) are searching for a wealthy, well-appointed husband to assure their daughter’s future social standing.
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