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“Sense and Sensibility” opened the 2018 Oregon Shakespeare Festival season last weekend and it is an uproariously funny — and stinging — commentary on manners, morals and money. Jane Austen’s “Sense and Sensibility” is a cautionary tale as relevant and as fascinating today as it was when it was first published in 1811. Under the direction of Hana S. Sharif, the play becomes a grand theatrical production that teaches with comedy and grace. Mr. Dashwood has died. His wife and three daughters are left in dire straits and come to depend on the generosity of Mrs. Dashwood’s cousin, Sir John Middleton, for protection and support. And so it happens that Elinore, Marianne, Margaret and Mrs. Dashwood come to live at Barton Cottage, and in this disadvantaged state negotiate a world of manners, social constraints and marital expectations. Those familiar with Jane Austen’s writing know well the play between sense and sensibility. Nancy Rodriguez in the role of Elinore is sense — a thoughtful woman with the strength and foresight to control her emotions, behavior and words. Elinore is conscious of public opinion and the importance of reputation in their small world. Her younger sister, Marianne, played by Emily Ota, is sensibility — an impetuous young woman who readily gives in to her passions without thought of consequence. Rodriguez and Ota are splendid in their roles as the Dashwood sisters, expressing that close, familiar relationship with gesture, loving touch and voice. Sharif’s direction brings honesty and dignity to “Sense and Sensibility,” and her guidance in shaping the female roles is clear. As the Dashwood sisters, Rodriguez and Ota are not victims of their lot in society but are heroines. Unlike most of the other female roles, they have the personal capacity and strength of character to influence their lot with honesty and manners and not through inference and intimidation. Those who lack land, money or title must rely on wit and beauty to secure a good marriage, and both men and women are subject to these 19th century realities. Matching Elinore’s mannered restraint are Edward Ferrars, played by Armando McClain, and Colonel Brandon, played by Kevin Kenerly. As Ferrars and Brandon, McClain and Kenerly accept responsibility for decisions made when young and less temperate, and they are loving, patient and truthful in their personal relationships. In contrast, Nate Cheeseman in the role of John Willoughby is a cad from start to finish. As Willoughby, Cheeseman is dapper and dishonest in every respect. Austen is known for her eccentric characters, and OSF’s excellent casting has assembled an incomparable and effective company for this OSF production. The sharp-tongued, fine-featured Amy Newman plays Fanny Dashwood to great effect and with remarkable lung power. Even the unnamed butler is played wonderfully, his bent and tottering form delivering the missives that drive the narrative. Each of the butler’s appearances provoke spontaneous hysterics from the audience. Michael J. Hume plays Sir John Middleton, and Lauren Modica is his most elegant wife. Together with K.T. Vogt as Mrs. Jennings, the three are a hilarious cacophony of sound and movement that surround the Dashwood family. The audience knows no restraint during the invisible dog scene, the ensemble barking and yipping and growling to fill the theater, competing with roars of laughter. When the ensemble isn’t barking, the cast is Gossip. Gossips hide behind every post, listen in at every door and whisper secrets in waves of movement. The Gossips destroy with innuendo, insinuation, passive-aggressive suggestion and condescending pontification. In such small social circles, news travels quickly. The narrative becomes more real and meaningful as the consequences of actions and decisions are made public. The Gossips’ shaming of Marianne is public and humiliating. The Gossips tear Marianne’s garments, throw her to the ground and stone her with words and actions. Costumes, staging and choreography are exceptional in this production. Those high-waist, Regency gowns embrace the bosom, skirts swishing as dancing slippers slide and kitten heels tap across the stage. The staging and choreography are tight, as prop changes become a dance of chairs, part of the production and integral to the scene. I don’t think I’ll ever forget that final triumphant waltz, complete with victorious fist bumps and grinds that drew spontaneous applause and shouts of elation from the audience. Kudos to costume designer Fabio Toblini, production stage manager D. Christian Bolender and choreographer Jaclyn Miller. Jane Austen’s novel is 394 pages long, and Kate Hamill extracted some of the best dialogue and most interesting aspects of the work for her play, first performed off-Broadway by Bedlam Productions in 2014. Directed by Hana S. Sharif, this OSF production is the West Coast premiere of “Sense and Sensibility.” Since its publication more than two centuries ago, the work has been the subject of countless plays and films, but there’s never been an adaptation like Kate Hamill’s or an interpretation like Sharif’s. “Sense and Sensibility” plays in the Angus Bowmer Theatre through Oct. 28, and is suitable for all audiences. The run time is approximately 2 hours and 20 minutes, including one intermission. For information or tickets, call the box office at 800-219-8161 or see www.OSFAshland.org. — Maureen Flanagan Battistella is a freelance writer who lives in Ashland, Oregon. She can be reached at [email protected].