Was Jane Austen Gay? at St Paul’s Church (The Actors’ Church)
Written by Ziwen for Theatre & Tonic
Disclaimer: Gifted tickets in exchange for an honest review
In 1995, the London Review of Books published a cover article titled “Was Jane Austen Gay?”, which caused a great stir. However, The Daily Telegraph’s interpretation distorted the meaning intended by the author, Terry Castle. Fast forward to the present: on the occasion of Jane Austen’s 250th birthday, the London Review of Books and the City of London Sinfonia have drawn inspiration from Castle’s work. With a text written by Sam Kinchin-Smith, they have launched a new piece in the “Concert Essays” series under the same title.
Jane Austen was born in 1775 in Hampshire, the seventh of eight children in her family. In her time, women had few opportunities for economic independence and were largely dependent on marriage for security. Yet Austen never married, forging her own path through writing and leaving an extraordinary legacy in her relatively short life with works such as Pride and Prejudice, Sense and Sensibility, Emma, and Mansfield Park. Sadly, much of what we know of her inner thoughts comes only from her writings. Before her sister Cassandra’s death, she destroyed most of Jane’s letters, keeping only a handful that she considered appropriate for posterity. Fragments of these surviving letters, alongside excerpts from her novels, Terry Castle’s essay, and family memoirs from Austen’s nephew, were presented together with Austen’s own private music collection at St Paul’s Church in Covent Garden, offering a rare glimpse into the private and creative world of this remarkable author.
Although James McVinnie’s piano performance is not entirely flawless, with occasional wrong notes, the overall playing is beautiful. Alexandra Wood’s violin is neat yet expressive, Rebecca Knight’s cello is gentle and tender, and Anna Dennis’s singing is full of passion. The program includes lively, delicate, and at times wistful pieces such as Thomas Arne’s Overture from Artaxerxes, Miss Mellish’s My Phillida, Adieu Love, and Haydn’s Trio No. 32 in A Major, Hob.XV.18. Listening to these melodies naturally sparks curiosity about their connection to Jane Austen, yet the performance offers little indication of such links. Unfortunately, the music and the readings do not fully merge. At most times, each reading is followed by a piece of music. Even with Claudie Blakely and Jemima Rooper delivering vivid readings, there remains a sense of separation between the music and the text.
If this performance aims to explore and respond to the subject, then it has accomplished its task with rigor, even carrying a touch of humor in its delivery. Yet it does not allow the audience to truly get to know Jane Austen. The glimpses offered through excerpts from her letters and writings remain a bit limited. While the discussion itself is meaningful, it is a pity that such a woman of character and talent can only be partially understood through fragments. Perhaps this “concert essay” need not remain so measured and analytical. It could let Jane Austen’s own spirit shine through more vividly, offering small, intimate glimpses of her life and character. Nevertheless, after so many years, the fact that it can once again introduce people to Jane Austen through this discussion makes the performance deeply significant.
★★★
