Mansfield Park – Theatricals

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“Sir Thomas’ return made a striking change in the ways of the family, independent of “Lovers’ Vows”. Under his government, Mansfield was an altered place. Some members of their society sent away, and the spirits of many others saddened, it was all sameness and gloom, compared with the past – a sombre party rarely enlivened.”

In light of this quotation, comment on the significance of the Theatricals in “Mansfield Park”.

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Although, in the end, “Lovers’ Vows” was never performed, the time spent rehearsing the scenes revealed various sides of the characters taking part. Under the cover of the characters in the play, those at Mansfield Park could reveal some of their true feelings and even act somewhat improperly.The term “acting” could be called into question for the play asoccasionally a character in “Lovers’ Vows” revealed what the person at Mansfield Park was really feeling. The entertainment resulting from therehearsals was felt to be much needed by everyone taking part.

As the first plans are laid down for the performance, Edmund and Fanny make it clear that they feel it impossible to have anything to do with the play in Sir Thomas’ absence. This moral standing is eventually broken down. Edmund is the first to relent and for Julia and Tom “such a victory over Edmund’s discretion had been beyond their hopes and was most delightful”. While taking the role to prevent the addition of another stranger to the party Edmund must have also been spurred on by the fact that he was to act with Mary Crawford. Despite this motive, Edmund is uncomfortable saying things he does not mean to Mary, he sees acting as an inconsistent person as a drawback to his plan.

Fanny’s morality prevents her from taking any part in the theatricals. She has no desire to act as the others do; she is content to be herself. It is only after pleading from the other members of the cast that she finally relents. Fanny’s reluctance brings forth some very cruel comments from the typically vindictive Mrs Norris. Although Mrs Norris would consider Fanny to be “very ungrateful, indeed, considering who and what she is” it actually is her love for Edmund that is Fanny’s Achilles’ heel in the matter of resisting the play.

In her role as Agatha Friburg, Maria Bertram had many scenes with both Henry Crawford and Mr Yates. Both of these gentlemen from the town could be said to have had an unfavourable effect on the rural life at Mansfield Park. Mr Yates should shoulder most of the responsibility for the Theatricals which cause rifts in the household both before and after Sir Thomas’ return. Henry is not only responsible for leading Maria astray at Sotherton, but also uses his role as Maria’s son in “Lovers’ Vows” to have close contact with her. The return of Sir Thomas interrupts what is to be the last rehearsal of the play. When Julia bursts in with the news, be it welcome or unwelcome, the scene freezes and Henry and Maria are left hand in hand. Henry keeping hold of her hand was “worth ages of doubt and anxiety” to Maria, though Henry probably did not even notice.

Fanny thought “[Maria] acted well – too well” and though she did not like Henry, “she must admit him to be the best actor”. Acting seems to come naturally to Henry, he is able to impersonate roles from Shakespeare. However, as many Machiavellian characters in works of literature have shown, when acting comes so easily, it can be difficult to know when you are dealing with the “real” person, if ever. Perhaps one of the most telling remarks about Henry comes when he makes an attempt to bring Julia out of her sulk. However, he “had cared not enough about [Julia's affront] to persevere against a few repulses”.

Julia is in a state of self-exclusion as Fanny is at first, but for very different reasons. While Fanny’s refusal is down to her principles, Julia’s refusal to act comes from her jealousy and anger over Henry Crawford, he had “trifled with her feelings”. Julia’s moment of glory comes on the return of her father. It could be said that her announcement of his arrival was a warning to those involved in the theatricals, but it is more likely that this is her one moment of glory over the cast as she said: “I need not be afraid of appearing before him”.

Tom is accountable for introducing the urban, dramatic influence of “the Honourable John Yates” to Mansfield Park. Striving for importance in the theatricals and the household while Sir Thomas is away, Tom lacks the foresight of his younger brother, but as the elder of the two his opinion is considered to be the most acceptable. Edmund evidently has more of an idea of decorum and the feelings of his father as he urges Tom to reconsider the staging of “Lovers’ Vows”.

There is a lack of consideration for Sir Thomas’ feelings and authority, yet on his return everybody’s reactions show clearly that they know what they are doing is wrong. Despite the younger people’s reactions, there is something to be remarked upon in the way that neither Mrs Norris nor the inert Lady Bertram do anything to call a halt to the theatricals. In fact, Mrs Norris busies herself preparing costumes and so on for the performance. While she saves “with delighted integrity, half a crown here and there”, she has moved into the house at Mansfield Park and is thereby residing at the expense of Sir Thomas.

An idea of the cast’s values is given as Fanny listens to everyone complaints. “Poor Mr Rushworth” enlists Fanny’s help in learning his “two-and-forty speeches”. At the same time, he cannot help but criticise Henry Crawford. He belittles his appearance and stature and is undoubtedly aware of something between him and his fiancée. Not bringing himself to take any action against any intimacies between Maria and Henry shows a rather slovenly side to Mr Rushworth. There may be a loveless marriage on the cards as Maria is unquestionably betrothed for money. As parallels can be drawn between most, if not all, of the characters at Mansfield Park and their corresponding character in “Lovers’ Vows”, Mr Rushworth is not dissimilar to Count Cassel – that is to say, rich and simple-minded.

Mary’s character, Amelia, is considered to be somewhat uncouth as she proposes marriage to a man, a terrible faux pas at the time. Like her brother, Mary is used to hiding behind whichever façade was necessary for the company she was in. Significantly, Mary has many scenes with Edmund and this is an opportunity for further flirting. While in Fanny’s company, Mary explains that she was able to comfort Mr Rushworth by exclaiming how maternal Maria looked in her role. However, as she sees that Maria is in love with Henry – “I imagine both sisters are” – this is only deceiving Mr Rushworth and furthering Henry’s fun.

The significance of the theatricals can be considered to be great as many sides of characters are revealed either through their reactions to events and Sir Thomas’ return, or through their characters in “Lovers’ Vows”. Sir Thomas’ return put an end to all that was connected with the theatricals. While this made people such as Maria, Henry and Mary unhappy, Fanny, for instance, must have felt tremendous relief, as it put an end to scenes between Edmund and Mary, for a start. Throughout his absence, the only regard to Sir Thomas has been Mrs Norris’ economic efforts and Edmund and Fanny’s concern for his response. Ultimately, even Edmund capitulated to the appeal of urbanite Mary Crawford and Fanny was drawn into the rehearsals. The end of the rehearsals spelt the end to the dramatised relationships of “Lovers’ Vows” and the inappropriate amount of time that Maria and Henry were spending rehearsing alone together. Despite the various wrongdoings going on around the house, of the party, Fanny feels the guiltiest. As she has barely contributed to the play, this “guilt” can only be put down to morality and shyness. During the rehearsals some characters changed as they explored their own characters under the cover of the character they played in “Lovers’ Vows”. Those characters such as Fanny and Edmund changed little as they were previously happy to be themselves.

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