A Timeless Beginning
There’s something fitting, almost poetic, about beginning a new season at Flat Rock Playhouse with a story that has never gone out of style.
As Flat Rock Playhouse launches its 2026 season and marks its 74th year on the Rock, it opens with Pride and Prejudice, a work that has endured for generations, much like the theater itself. It’s a natural pairing, a timeless classic brought to life on one of the region’s most beloved stages.
At FRP, a season is more than a schedule. It is a composition, with each production setting the tone for what follows. With Pride and Prejudice, that opening note is clear, lively, inviting, and full of life. It reflects what FRP does best, creating theatre that welcomes you in, surrounds you with story, and reminds you from the very first moment why live performance still matters.
A Fresh, Playful Take on a Classic
Rather than treating Jane Austen’s novel as something delicate to be preserved, Kate Hamill’s adaptation of Pride and Prejudice leans into its humor, drawing out the sharp wit that already lives in the text and then amplifying it for the stage. The result is fast-moving and playful, with actors frequently shifting roles, breaking expectations, and using physical comedy in ways that feel both surprising and completely in tune with Austen’s spirit. The final result is a familiar story that feels fresh, even for those who know it well.
Hamill’s version is especially effective in its relatability. While the language and setting remain rooted in the Regency era, the emotional rhythms feel unmistakably modern. The characters’ madcap progression of anxieties, missteps, and desires – all swirling within the machinations of matchmaking - allows the story to resonate in a new way, reminding audiences that Jane Austen’s world, for all its formality, is not so far removed from our own.
Experiencing Magic on the Rock
At Flat Rock Playhouse, Pride and Prejudice is more than something you watch. It is something you step into. The endearingly playful experience is immediate and engaging - drawing you in with warmth, humor, and a sense of shared connection. It invites you to slow down, laugh, and enjoy time together in a place where creativity and community meet.
In short, FRP’s Pride and Prejudice is a delightful night at the theatre.
On opening night at Flat Rock Playhouse, the 2026 season began as all good things do, with a clear and inviting first note. It arrived with radiance, wit, and a sense of joyful possibility - inviting us to step inside the story and be part of something that exists only in that moment, in that place, among those gathered.
And like the most memorable opening notes, it lingers, echoing across the Rock and into the season ahead.
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Pride and Prejudice runs May 1–23.
Jeff Ronan as Mary. Laura Jordan as Mrs. Bennet. Janiah-Camile Francois as Jane, and kimberly Chatterjee as Lydia in Flat Rock Playhouse’s presentation of Pride and Prejudice as adapted for stage by Kate Hamill.
Janiah-Camile Francois as Jane
Laura Jordan as Mrs. Bennet. With Scott Treadway.
Actor Profiles
Laura Jordan Finds Joy in Mrs. Bennet, and in Flat Rock
For Mrs. Bennet, the line between comedy and truth is razor-thin, and Laura Jordan knows exactly how to walk it.
Laura, returning to Flat Rock Playhouse after last season’s Murder on the Orient Express, brings both pedigree and perspective to the role. A Broadway veteran who appeared in Cry-Baby, which earned a Tony nomination during its run, she has worked on stages from New York to the Edinburgh Fringe. But it’s not résumé lines that define her experience here.
“I really try to enjoy those times when the company is filled with amazingly gifted performers who are also kind, funny, supportive people,” she says. “And this is one of those times.”
That sense of ensemble, she suggests, is part of what makes Flat Rock distinctive. In an era when many regional theaters are scaling back, she sees something different here. “Theaters are struggling… and this place seems to be doing so well. That really speaks highly of Flat Rock.”
Laura is equally enthusiastic about the production itself, a visually rich interpretation that honors Pride and Prejudice while giving it a contemporary lift. “We’re in Regency costumes, using direct lines from the book,” she explains. “It’s not adding anything that isn’t there, it’s just a 21st-century lift to some of the themes.”
And then there’s the simple, irreplaceable magic of live performance. “It’s great to be with people watching something that will never happen exactly the same way again.” For Laura, that immediacy, along with the community she’s found in Flat Rock, keeps drawing her back. “This place is very special.”
Pride and Prejudice
A Review by Missy Schenck
An excellent opening night performance of Pride and Prejudice at the Flat Rock Playhouse — I’m still smiling. From the first moment, the production delighted with its inventive staging and the sheer joy of watching a talented ensemble bring multiple characters to life. Each actor seemed perfectly cast, and the chemistry among them unfolded beautifully as they danced through the ever-entertaining game of marriage.
Just a few weeks ago, I happened to meet Charlie Johnson, the director, as he was leaving The Lowndes House while I sat rocking on the front porch with my friend, Marty Cornwell. When he mentioned he was directing Pride and Prejudice, I told him it was a favorite of mine. With a knowing smile, he said, “We’ve changed it up a bit — it’s not what you might expect.” As a longtime patron of the Playhouse, I’ve come to appreciate their creative risks, and he was absolutely right. This production is fresh, unexpected, and genuinely hilarious — a show everyone should see. It is the Playhouse at its very best.
The performance brought to mind the golden days of the Playhouse, recalling the work of Betsy Bisson, Scott Treadway, Paige Posey, and Lisa Bryant — artists who mastered the art of engaging audiences through sharp character work and playful improvisation. That same spirit was alive on stage as actors seamlessly shifted between roles, each transformation more delightful than the last.
Jeff Ronan nearly stole the show with his portrayals of Mary and Mr. Bingley — both impeccably timed and utterly distinct. The entire cast rose to meet his energy, creating moments of genuine comedic magic. It was also a treat to see Scott Treadway in true form, skillfully moving between Mr. Bennet and Charlotte with wit and nuance.
Neil Redfield impressed across the board — a dashing and alluring Wickham, a deliciously pretentious Miss Bingley, and a memorably grotesque Mr. Collins. Each role was sharply defined and thoroughly entertaining. Kimberly Chatterjee brought infectious energy to Lydia and a commanding presence to Lady Catherine, striking just the right balance to carry the play’s comic momentum.
As for Darcy and Lizzie, Piper Patterson is a wonderful new face on the Playhouse stage, and one hopes to see much more of her. Opposite her, Mathew Christian delivered a charming and compelling Darcy. Together, they guided the audience effortlessly toward love. Janiah-Camile Francois gave a tender and graceful performance as Jane — her heartbreak and joy felt deeply and sincerely.
Laura Jordan was a standout in two wonderfully contrasting roles: the anxious, larger-than-life Mrs. Bennet and the quietly hilarious servant. Her slow, suspenseful crossing of the stage with a tea tray was a moment of pure theatrical delight. As Mrs. Bennet, she captured perfectly a mother’s urgent desire to secure her daughters’ futures.
Need I say more? This production is worth every penny and a terrific way to launch the season. Running through May 23, it’s a performance well worth adding to your plans. My thanks to Lisa, Sam, and the entire crew for an evening filled with laughter and joy. - Missy
Matthew Christian as Darcy. With Piper Patterson as Lizzy.
Matthew Christian Returns Home to Play Darcy
For Matthew Christian, stepping into the role of Fitzwilliam Darcy is as much a homecoming as it is a debut. Matt, who appeared last season at Flat Rock Playhouse as Gerry Goffin in Beautiful, returns with a clear affection for both the theater and its community. “I felt at home here instantly,” he says. “You don’t feel that in every theater.”
His credits span the national tour of Company and Off-Broadway work with organizations like Roundabout Theatre Company, along with training at Harvard’s A.R.T. Institute. But it’s the atmosphere at Flat Rock that stands out most vividly. “It’s top-down, from Lisa (Bryant) to everyone,” he says. “People are kind, hardworking, dedicated. You feel it everywhere, even in the landscaping. These are staff and volunteers who love the theater.”
That sense of care extends to the production itself. Matt describes this adaptation as both faithful and inventive, grounded in Austen’s emotional core while embracing a more playful tone. “It stays true to the story and the emotional weight,” he explains, “but adds a kind of screwball element. It’s very smart, taking the source material and building on it in a beautifully artistic and funny way.”
For Matt, returning to Flat Rock wasn’t just an opportunity, it was something he actively hoped for. “I missed people here,” he says. “I kept thinking, when do I get to come back?” Now, as Darcy, he has his answer.
Piper patterson as Lizzy. With Neil Redfield as Wickham.
Piper Patterson’s Lizzy Bennet, Smart, Modern, and Playful
As Elizabeth Bennet, Piper Patterson leans into both the intelligence and the irreverence that have made the character endure for more than two centuries. A Juilliard-trained actor, writer, and director, Patterson splits her time between Manhattan and the Catskills, with screen credits including The Housemaid and Law & Order.
But on stage at Flat Rock, she’s embracing something more immediate, and more unpredictable. “Come to the theatre. Every performance is different. Maybe we’ll mess up a line. That’s exciting,” she says with a laugh.
That sense of spontaneity fits naturally with this production’s approach. While grounded in Austen’s original text, the adaptation introduces what Patterson calls “anachronistic chocolate chips,” small, playful touches that keep the story feeling fresh. “You get sucked into the story,” she explains, “and then there’s something, a piece of music, a turn of phrase, a physicality, that’s from today. It keeps it relatable.”
Offstage, Patterson has been equally taken with the setting. Encouraging family members to visit, she found herself becoming an ambassador not just for the show, but for the region itself. “I told them, you have to come,” she says. “It’s too beautiful, you’ll love it.”
That blend of classic storytelling and present-day vitality of a place like Flat Rock Playhouse, she suggests, is exactly what makes this Pride and Prejudice feel alive.