We were at the opening night of Death Comes To Pemberley at the Wycombe Swan — a stage adaptation of PD James’ Austen-inspired novel, itself something of a sequel to Pride and Prejudice.
This is murder mystery theatre with a twist: Austen’s beloved characters plunged headlong into an Agatha Christie-style whodunnit. It’s gripping, briskly paced and delightfully funny in places.
I haven’t read the book so the twists and turns kept me hooked right to the curtain call. A Regency romp indeed.
The Story
The play opens on the comings and goings the night before the lauded Pemberley Ball, at the home of Mr Darcy and Elizabeth (née Bennet, of course), who are 6 years into their marriage — a happy one, based on love. A novel concept at the time.
Amidst the hustle and bustle, suddenly in bursts Elizabeth’s sister Lydia in a fit of hysteria with news of a murder in the Pemberley woods.
Darcy, Colonel Fitzwilliam and Henry Alveston rush to investigate, discovering the body of Captain Denny.
The prime suspect? None other than the eternally troublesome George Wickham.
Naturally, all is not quite as it seems. Family secrets and long-buried tensions bubble to the surface as we inch closer to the truth of the matter.
The first half carefully sets the stage; the second half delivers the meaty twists. There’s no lagging, though — you’re pulled along with enough intrigue and bustle to keep you firmly engaged throughout.
You don’t need to be a Jane Austen aficionado or even to have seen any of the big TV or film adaptations to enjoy the show, although I would argue that a passing familiarity might help. As I overheard one confused man at the bar mutter, “what’s everyone’s beef with Wickham, anyway?” — some background knowledge might save you from similar bewilderment.
The Performance
James Bye is a convincing Darcy, matched by Jamie-Rose Duke’s spirited Elizabeth. Sam Woodhams brings brooding energy to Wickham, while David Osmond’s Henry offers a heartfelt counterpoint to Sean Rigby’s stiff-upper-lip Colonel Fitzwilliam as they compete for Georgiana’s affections.
Comedic relief comes courtesy of Sarah Berger as Lady Catherine de Bourgh, armed with withering one-liners and imperious hauteur. My personal standout, though, was Todd Boyce’s Selwyn Hardcastle, a magistrate laced with black humour and delicious self-assurance.
The doubling-up of roles works well most of the time. Still, I couldn’t help wishing for more of Lydia; Mogali Masuku shines in her other role as Louisa Bidwell, and it feels like a missed opportunity.
Production Notes
The set is impressively versatile, both grand enough to be Pemberley’s drawing room, atmospheric enough to conjure the storm-lashed woods, and oppressive enough to serve as a prison cell.
Live piano music, arranged and directed by “Henry” himself, is another masterstroke. Played by Henry and Georgiana, it adds authentic period texture and underlines the suspense beautifully.
Conclusion
Death Comes to Pemberley makes for a thoroughly entertaining night out, whether you’re an Austen devotee, a period-drama fan, or simply love a good murder mystery.
Smartly staged, well performed and satisfyingly twisty; it’s a worthy addition to the Austen universe.
Now, don’t mind me. Off to watch Pride and Prejudice again…
📍Wycombe Swan Theatre
🗓️ Running through to Saturday 30th August
🏷️ £20-45
🎟️ Get tickets here
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