Behind Plied and Prejudice: Matthew Semple on Adapting Austen

“Our first season in Australia certainly exceeded our wildest expectations!” says Matthew Semple, the writer behind Plied and Prejudice, the raucous parody of Jane Austen’s beloved novel that has stormed into London. The show opened at The Vaults in Waterloo on 13 March 2025 and runs through to 18 July, an immersive, booze-fuelled theatrical romp promising Regency-era characters, madcap comedy, and plenty of audience participation.

Described as equal parts performance and party, Plied and Prejudice invites audiences straight into Pemberley’s booziest ball. Five actors scramble to play twenty characters, delivering a show that’s as chaotic as it is cleverly constructed.

According to Semple, the show’s success in Australia stemmed from its unique ability to appeal both to “frequent theatregoers and people who would never usually see a play” as well as “Jane Austen superfans and people who’d never heard of her.” This wide appeal is a source of pride for the creative team, who emphasise the show’s blend of irreverence and affection.

Turning Austen Upside Down

“The irreverence snuck its way in, almost unnoticed at first,” Semple explains. Initially, he set out to create an honest-to-the-book adaptation, but the practical demands of time and cast quickly changed the vision. “I began by writing an honest-to-the-book stage adaptation which was about an hour too long. I found a lot of the ridiculousness sparked naturally as we tackled the logistical questions: ‘How do we make this half the length?’; ‘How do we do this with five actors?’; and ‘Oh god, what were we thinking?’ The answer to all of these questions was naturally to make it sillier.”

‘How do we make this half the length?’; ‘How do we do this with five actors?’

Semple credits much of the show’s ultimate form to the collaboration with director Dash Kruck and designer Penny Challen. “Having Dash interpret my script, and seeing the beautiful set and costumes by Penny, were pivotal for my understanding of the show (and inspired lots of re-writes!).” Their creative partnership has resulted in a production that feels meticulously crafted even in its most anarchic moments.

Chaos with a Backbone

Even with a compact cast juggling twenty roles, Semple says the production carefully balances chaos with structure. “A little chaos is always on the cards! But I think the strength of this show is how it constantly flirts with falling off the rails without ever descending into total anarchy.” According to Semple, the meticulous planning behind prop and costume movements is what enables the performers to keep the audience engaged. “It’s a walking contradiction of a show that asks the actors to perform with simultaneous precision and flexibility to adapt to anything, and we’re so lucky to have a cast that excels fantastically on both counts.”

This delicate balance also owes much to the audience. “Every show is different because every audience is different,” Semple notes. “We’ve worked hard to give the show a tone that breaks down the walls between the audience and the actors. It’s very much ‘You’re here; we’re here; let’s tell this story together.'” While there’s plenty of audience interaction, Semple is careful to make it inviting rather than overwhelming. “Don’t worry if you’re shy, it’s nothing too scary!”

“A little chaos is always on the cards! But I think the strength of this show is how it constantly flirts with falling off the rails without ever descending into total anarchy.”

Modern Takes on Classic Archetypes

Reimagining Jane Austen’s characters for a contemporary audience has been one of the most enjoyable challenges for Semple. “Being able to reinterpret these iconic characters in the language of modern culture has been one of my favourite aspects of creating this show.” Lizzy and Darcy, he explains, draw on countless adaptations, while the other characters are exaggerated to highlight their archetypal traits. “My personal favourites have got to be the disastrous duo of terrible suitors: the rakish Mister Wickham and the ‘love-to-hate-him’ Mister Collins. Modernising these two came so naturally because they embody such awful modern male archetypes: the f***boy and the incel.

Taking these two to their most extreme with a modern viewpoint is ripe for comedic exploitation, both played to grotesque perfection by our wonderful Andrew MacMillan.”

A Tribute with a Twist

Launching during the 250th anniversary year of Jane Austen, Plied and Prejudice offers a distinctive kind of tribute. “We always set out to create a theatrical experience that paid homage to the book – as well as traditional adaptations – with love and respect,” Semple says. “In Australia of course, holding something in high regard is usually best shown by affectionately ripping it to shreds! I hope that this brings a new take on how we celebrate the greats of our culture – treating our literary heroes as real people rather than elevated, untouchable saints.”

Semple adds that the show’s themes extend beyond the laughs. “As well as being steeped in modern feminism, the show pokes a healthy amount of fun at class structures that are just as preposterous today as they were in Jane Austen’s time. I love using comedy as the ‘spoonful of sugar’, and this story is the perfect source material to do it with. Austen’s writing is already so witty and clever that the satire I’ve added is able to slot right in alongside it.”

The Production Powerhouses

Plied and Prejudice is produced by Australian outfit Woodward Productions, known for their inventive and often boundary-pushing work, including The Woman In Black and A Very Naughty Christmas. They are joined by executive producers Glass Half Full Productions, whose credits span Broadway, the West End, and major Australian stages. Together, they bring a wealth of international experience to this bold, immersive production. With a set designed by Penny Challen, who has created sets for the Royal Opera House, RSC, ENO and the National Theatre, audiences can expect a visually stunning, immersive experience that transforms The Vaults into the chaotic, charming world of Austen as you’ve never seen it before.

Scandal, Silliness, and Soaked Shirts

Reflecting on the moments that consistently delight audiences, Semple highlights a crowd favourite: Mister Darcy’s “wet linen shirt” moment. “It’s doubly scandalous since it isn’t in the book (again, sorry Jane), but once the super soakers come out, nobody seems to mind!” He also remarks on the overall freshness of each performance, crediting the cast and musicians for keeping the energy high and the interactions spontaneous.

For Semple, even after the huge success in Australia, the move to London feels excitingly fresh. “It was a joy watching the audience each night. Without a doubt, one of my favourite moments to watch the audience is Mister Darcy’s ‘wet linen shirt’ moment, heavily inspired by the BBC series.”

“At the end of the day,” Semple says, “if people leave the theatre smiling, laughing, and maybe feeling a little less precious about the classics, then we’ve done our job. And if they’re a little damp from a super soaker, all the better!”

All images (except Matthew Semple – provided by show PR): Guy Bell