A couple of reviews have popped up of the stage production of Pride and Prejudice currently being staged by the Pittsburgh Irish and Classical Theatre. The Pittsburgh Tribune-Review liked it a bunch:

The play focuses on the evolving relationship between Elizabeth Bennett and Mr. Darcy as they wrestle with their own pride, prejudices and misperceptions.

But in constructing her novel, Austen also drew a full complement of rich and interesting characters, and Jory’s adaptation sees that the characters are not neglected or overlooked. He pays full attention to the adventures and foibles of other members of the Bennet family — Elizabeth’s four unmarried sisters, her hysterical, delusional mother and her somewhat retiring father, as well as other favorite characters such as Mr. Collins and the imperious Lady Catherine De Bourgh.

Jory retains the narrative voice of the original novel, allowing it to flow through the mouths of a succession of characters. Director and choreographer Scott Wise keeps the action moving seamlessly and rapidly through the swiftly changing landscape of town and country settings created by scenic designer Gianni Downs.

The Pittsburgh Post-Gazette liked it as well, but with some reservations.

The problem is not the size of the story: this is not one of those three-volume Victorian epics, and adapter Jon Jory has compressed it efficiently by focusing resolutely on Elizabeth. But the great joy of the novel is Austen’s narrative voice, commenting with wit and compassionate insight. How to preserve that?

You can’t, although Jory does work some of Austen’s witty asides into the dialogue, and others we can guess at as we watch machinations undercut or gone awry. As for the novel’s famous first sentence about any man of good fortune needing a wife, Jory assigns it to a Bennet family chorus, letting them express directly what Austen gently mocks.

That first sentence, comes about five minutes into the play, because Jory starts by having Mr. Bennet introduce his family. That’s uncharacteristic for him but in the popular mode of “Nicholas Nickleby” in which characters turn narrator.

This device and ruthless pruning enable the story to move very quickly. “There is to be a ball,” someone says, and the next instant all are dancing. I admire this fluidity, but the audience better pay attention — there are a couple of transitions so quick it felt like the Reduced Shakespeare guys did the compressing.

Overall, it sounds like a good one. The play runs through December 22. Tickets are $15-45 and are available online.