In the Redfield Studio Theatre at the University of Nevada, Reno, Kate Hamill’s Pride and Prejudice roared to life with all the romance and razor-sharp wit of Austen’s original—but with a twist: this production isn’t your mother’s period drama. Under the inspired direction of Rosie Brownlow-Calkin, the Department of Theatre & Dance’s latest production pulses with modern energy, smart pacing, and a cast that feels like it was born to inhabit these roles.
From the very first scene, Ora Harris as Mrs. Bennet brought unrelenting passion and comic timing to the role of the high-strung matriarch. Her every line landed with purpose, making the character’s desperation for suitable matches both hilarious and somehow tender. Harris’ chemistry with Luis Galvez as Mr. Bennet was a particular highlight—together, they created an effortless, lived-in dynamic that felt like watching an old married couple you know personally. Galvez’s dry, sardonic line deliveries made him the perfect foil to Harris’ explosive emotional energy, and their scenes together often drew some of the biggest laughs of the night.
Alyssa Von Eberstein took her final UNR bow as the clever and passionate Lizzy Bennet. Her portrayal was a tour de force—sharp-tongued, deeply emotional, and radiantly confident. She embodied Lizzy with ease, wielding modern language twists with precision and grounding every quip in truth. The way she layered strength and vulnerability made her performance unforgettable. Watching Alyssa on stage felt like witnessing someone step fully into their power—and what a final performance to remember her by.
Emma Harris’ Jane Bennet was warm and gentle, offering a sweet contrast to Lizzy’s fiery presence. Her sisterly chemistry with Von Eberstein was honest and heartening. Kaylyn Duncan’s Mary stole scenes with a hilariously brooding presence, leaning into the character’s awkward intellect in a way that was both original and endearing.
Miela Offerle burst onto the stage as Lydia with boundless energy, delivering every moment with chaotic charm and comedic flair. Peyton Tuley’s Charlotte was a study in subtlety and internal depth, anchoring Charlotte’s choices in realism and emotional weight. Alex Mead, also graduating, made an indelible impression as Miss Bingley. Every line and gesture was dripping in sass and snark, and his performance was a comedic masterclass. Mead’s final performance on the UNR stage was unforgettable—full of confidence, charisma, and an unmistakable sense of fun. It’s clear he’ll shine in whatever comes next.
Benit Hensley as Darcy gave the kind of slow-burn performance audiences crave—stern and restrained at first, then deeply heartfelt and transformative. His chemistry with Von Eberstein built steadily, each scene raising the stakes and tension. Bradley Simons as Wickham was charming with just the right edge of deception, while Kiernan Pederson as Mr. Collins brought the house down with every awkward bow and pompous word.
Kieran Pedersen (Collins), Marianne Enger (Lady Catherine de Bourgh), and Kenzie Marks (Anne de Bourgh) added color and flair in their respective roles, rounding out a cast that worked in beautiful harmony. Each performer brought specificity and presence that elevated the ensemble and gave the world of the play texture and life.
The creative design elevated every beat. Scenic design by Gady Connor and Bill Ware provided a simple but versatile space that transformed effortlessly between ballrooms, drawing rooms, and garden paths. The lighting design by Don J. Eller created mood and movement—at times playful, at others romantic or contemplative. Subtle shifts in light guided the audience emotionally from scene to scene.
Costume designer Leah Hummel and wig designer Leslie Stamoolis blended period silhouettes with whimsical, modern accents, mirroring the tone of the script perfectly. From corsets to combat boots, each look added to the unique voice of the production. Stage manager Ru Cole and assistant stage manager Jay Pratt kept everything running like clockwork, and intimacy director Thomas Rao’s influence was visible in how grounded and safe even the most vulnerable moments felt.
Every backstage and behind-the-scenes contributor—from dramaturg Madison Youngblood to the lighting and sound ops, props crew, costume construction students, and run crew—brought precision and passion to this production. Their collective energy radiated from the stage and made this world feel fully alive.
UNR’s Pride and Prejudice is more than a retelling—it’s a reimagining. A celebration of love, growth, and what it means to be seen. With performances running through April 13, don’t miss your chance to witness a production that honors the past while joyfully pushing into the present.
And to the graduating seniors—Alyssa Von Eberstein, Miela Offerle and Alex Mead—your work on this stage has been luminous. Congratulations!
