Some readers of简·奥斯丁（Jane Austen）1811 novel “Sense and Sensibility” know instantly that they’re like Elinor, who’s reticent, not because she has nothing to say but because she’s strategic, considerate and practical, eager (or overeager) to assume the classic eldest sibling’s role of cleaning up everyone else’s messes.

其他人则在玛丽安（Marianne）中看到自己，她的敏感，艺术和冲动性，并不是因为她喜欢为自己的缘故而成为关注或挑衅的中心，而是因为她认为任何隐瞒是一种不诚实的形式，也是对生活中深层联系的主要乐趣的障碍。

在保罗·戈登（Paul Gordon）对小说的音乐改编中，我3月13日星期日在露西·斯特恩剧院（Lucie Stern Theatre）上看到了他的剧院作品，两个达什伍德姐妹（Dashwood Sisters）之间的对比引起了新的共鸣。As they’re turned out of their home by patriarchal estate law and beset with hurdles in their quests to find love, Elinor (Sharon Rietkerk) and Marianne (Antoinette Comer) aren’t merely squabbling about or philosophically debating how to balance our obligations to ourselves and to others. Each thinks her way is the best way, yes, but she enjoins the other out of earnest, loving desire for her sister’s happiness and fulfillment.

很帅就是夏娃罗伯特·凯利的生产n if you didn’t know in advance about Austen’s penchant for happy endings, you can tell things will work out for Elinor and Marianne. Gilded filigree curls in multiple tiers all over Joe Ragey’s scenic design, all but locking in an offer of matrimony or two.

Fumiko Bielefeldt的服装设计是一场视觉盛宴，尤其是在我们从事大流浪运动裤的两年之后。Amid Regency England’s highly codified mode of dress, she finds inventive ways to develop individual characters, giving one character a bit of asymmetry on her bodice, to show the way she zigs where others zag, and another striped knee-high stockings, emphasizing his buffoonery.

如果音乐是水性钢琴的最令人难忘的水坑，那么戈登（他还将奥斯丁的“艾玛”和“骄傲和偏见”改编成音乐剧的戈登是精简的。他将其纳入必需品，将多个情节函数融合到一个字符中，并将一系列场景打成一个无缝的流动。

Committed Janeites might carp at some of the lost nuance, especially the way Marianne’s cast-off suitor, Colonel Brandon (Noel Anthony), gets reduced to a comical geezer, or how Elinor no longer undergoes a total reversal at the story’s conclusion. In the novel, she suddenly forgets all her preaching about the virtues of restraint when impossible dreams come true. Here, the change barely dents her armor, robbing “Sense and Sensibility” of one of its chief narrative satisfactions and diminishing one of Austen’s overarching themes: The rules we set for ourselves, the identities we painstakingly sculpt, must bend for the vicissitudes of fate and the fallibility, variability and complexity of human nature.

里埃克克（Rietkerk）扮演埃利诺（Elinor）作为宁静的灯塔，偏离天使般的善良，只是偶尔会偶尔出现精致的讽刺，就像她是一个童话中的公主一样。但是她和她受挫的人爱德华（Darrell Morris Jr.）的化学反应蓬勃发展。当她看到她的帽子时，他的头顶帽子的方式应该在演出结束时陷入困境。令人耳目一新的是，Comer确保玛丽安（Marianne）绝不是绝望的浪漫主义或戏剧女王，而是一个有原则的，周到的辩论伙伴，他对世界开放，让它对她采取行动。

“Sense and Sensibility” might not have been crying out for a musical adaptation, nor is it especially illuminated by Gordon interpolations such as “our life as it stands is now in someone else’s hands.” But so sturdy is Austen’s story, so scrumptious are her characters and situations, that any opportunity to revisit them, revel in their wit and make their hopes our own is most welcome.

m“理智与情感”：保罗·戈登（Paul Gordon）的书，音乐和歌词。改编自简·奥斯丁。由罗伯特·凯利（Robert Kelley）执导。到4月3日。两个小时30分钟。$ 30- $ 100，如更改。露西·斯特恩剧院（Lucie Stern Theatre），帕洛阿尔托（Palo Alto）1305 Middlefield Road。877-662-8978。www.thearworks.org