“Regency Girls,” a new musical comedy set in the period of Jane Austen’s novels, has made its world premiere at San Diego’s Old Globe.
The story revolves around the fate of the Benton family, which hinges on finding husbands for the two oldest daughters, Elinor (Isabelle McCalla) and Jane (Kate Rockwell).
These daughters are being courted by wealthy suitors who are bound for a yearlong voyage.
Complications arise when the suitors fail to show up at the appointed hour to bid farewell to the ladies.
However, at the last minute, they appear and propose, temporarily saving the Benton daughters from a fate worse than spinsterhood: family insolvency.
The world of “Regency Girls” comes to life with a boisterously vivacious opening number, “A Happy Ending Beginning,” which sets the household into ecstatic motion.
But, as many romantic tales suggest, happy endings aren’t meant to come at the start.
Elinor, who appears to be modeled after Austen’s Elizabeth Bennet, makes a life-altering decision her counterpart would likely never consider: she becomes pregnant before her wedding day.
On the night of their engagement, Elinor and her fiancé Stanton (a winning Nik Walker) succumb to passion.
Now, with Stanton at sea with Dingley (Gabe Gibbs), Jane’s less-than-pleasant fiancé, Elinor’s predicament seems insurmountable.
Jane, markedly more conventional than Elinor, worries that her sister’s disgrace will tarnish her own future.
She fears that Dingley, haughty and hypocritical, won’t want anything to do with their family once this scandal spreads through British high society.
Elinor eventually finds an ally in her quick-thinking maid, Dabney (Krystina Alabado), who presents her with a handbill for the services of Madame Restell (Janine LaManna), a London-based midwife experienced in helping women like Elinor.
It is unclear why Dabney has this advertisement, but it becomes evident that Elinor won’t have to navigate this ordeal alone.
In a twist of fate, Petunia (Ryann Redmond), a married family friend, volunteers to accompany Elinor to London.
With Jane anxious to ensure that her sister’s situation is handled with discretion, she too agrees to join the journey.
Dabney, eager to be part of the adventure even if it means riding atop the luggage, insists on joining as well.
Thus, “Regency Girls” quickly transforms into a rowdy road trip reminiscent of a mash-up of “Thelma & Louise,” Austen’s romantic tales, “Bridgerton,” and some cheeky sketch comedy.
The musical’s book, crafted by Jennifer Crittenden and Gabrielle Allan, seasoned TV writers with notable comedy credits, indulges in anachronisms for comedic effect.
The score, featuring Curtis Moore’s music and Amanda Green’s lyrics, starts with a period flavor only to unexpectedly veer into Broadway-style pop, rock, and even hip-hop.
Who said Regency girls can’t have fun?
Throw them in a slow-trotting carriage and see how far they can go.
The production is both genuinely funny and unabashedly silly, and director and choreographer Josh Rhodes faces the challenge of reining in some of the sitcom exuberance.
This “pre-Broadway engagement” showcases the bright potential of the musical.
A show celebrating girl power in a comedic road-trip format is hard to resist.
However, as the humor broadens, it takes on a more ridiculous nature, resembling a sitcom tailored for a laugh track.
Though Crittenden and Allan demonstrate vibrant imaginations, their wild situations often come across as mere joke machines.
The introduction of Galloping Dick (Gibbs, doing double duty), a Robin Hood-esque Lothario who piques Jane’s interest on their journey, pushes the zaniness into overdrive.
Initial signs of clowning emerge through a maternal wig, and the arrival of Lady Catherine (LaManna, also performing as another character) further escalates the comic chaos.
Stanton’s dragon-like aunt is in an uproar over her nephew being engaged to Elinor when he is supposedly promised to one of her two daughters, identities of whom she struggles to remember.
However, pandemonium erupts when Elinor and her companions stumble upon a chest filled with bondage toys and dominatrix gear during an intense moment in their travels.
At this juncture, the show seems to jump the shark, with the gag overwhelming character development and narrative substance.
While some audience members may embrace this plunge into burlesque, others may be drawn to the complexity of Elinor, who — in classic Austen tradition — refuses to relinquish her intelligence in favor of men.
Championing this role, McCalla presents Elinor as a bright, charismatic character, showcasing the essence of brainy charm and self-confidence.
She stands as the radiant center of “Regency Girls.”
Equally commendable is Alabado’s portrayal of Dabney, whose nimble-witted resourcefulness elevates her from servant to a second protagonist.
Amid the challenges of gender inequality and class prejudice, she highlights the stark social disparities of the time.
All of the women emerge from their circumstances with newfound autonomy.
Rockwell’s Jane and Redmond’s Petunia receive moments of self-discovery as well.
Jane learns that marrying for wealth isn’t nearly as rewarding as marrying for love, while Petunia takes control of her sexuality, rejecting the notion that her purpose is merely to bear children.
image source from：https://www.latimes.com/entertainment-arts/story/2025-04-14/in-regency-girls-at-the-old-globe-young-ladies-in-trouble-discover-their-power-on-a-raucous-road-trip
