Campaign brings back Austen drama
James Croot says the resurrected Sanditon is a little too sprawling but costume drama fans won’t be disappointed.
Of course everyone remembers how Bridgerton arrived on our silver screens with something of a splash, but 2019’s other bodice-ripping ‘‘Ton’’ had a rather more mixed reception compared to Netflix’s festive-viewing blockbuster.
The eight-part adaptation of Jane Austen’s final, uncompleted novel Sanditon enjoyed a sexed-up screenplay from veteran writer Andrew Davies and served up initial shocks before outraging the Pride & Prejudice-author’s fan base entirely with a surprisingly downbeat ending.
That reaction somewhat soured what was a sometimes delicious period drama, filled with all the misunderstandings, scheming siblings, family fortunes, caddish gentlemen, confidences, conspiracies and mean, miserly old monsters the genre demands. Yes, it was less elegantly written than Chris Van Dusen’s take on Julia Quinn’s tales of Regency England in Bridgerton, but the first-rate costumes, classy production design, fresh seasideset storylines and a terrific ensemble headed by Reign’s Rose Williams more than made up for that.
The controversy probably helped UK production company ITV decide that they didn’t want to be in the Sanditon business any more, cancelling it just before Bridgerton’s debut in December 2019. However, there were those on the other side of the Atlantic who wanted more – and, thanks to a campaign by fans and PBS, it’s now back for the first of two more proposed seasons.
As the six-part season two opens, Sanditon is fast becoming the most desirable location on England’s south coast. Summer has brought a company of 100 soldiers as well as acclaimed artist Charles Lockhart (Alexander Vlahos). Both immediately cause something of a stir, especially the latter’s penchant for bare-chested bathing ‘‘to rouse the senses’’.
But while Georgiana Lambe (Crystal Clarke) is having to fend off potential suitors on a daily basis and inge´ nue Alison Heywood (Tessa Stephens) is determined to attract a rich husband, sister Charlotte (Williams) is less enamoured by the town’s increased injection of testosterone, especially after the traumatic end to her relationship with Sidney (Theo James).
Driven by Georgiana, who knows that accepting any marriage proposal will decrease her powerful status, Charlotte decides to assist in a sugarboycott in support of abolishing slavery, much to the chagrin of matriarch Lady Denham (Years and Years’ Anne Reid), who dismisses it as ‘‘radical nonsense’’, while slipping three spoons of the ‘‘white gold’’ into her tea.
Then, during a parade designed to celebrate the military’s presence, near tragedy strikes, Charlotte just managing to rescue a young girl from beneath a rearing horse’s hooves. Returning the little one and her older cousin home, she discovers they are under the care of the area’s notorious recluse Alexander Colbourne (Ben Lloyd-Hughes) and are without either mother, or governess. It’s a situation that Charlotte suddenly realises may provide her with a solution that will allow her financial security and independence, while preventing any more heartbreak.
Throw in continued financial woes for the entrepreneurial Tom Parker (Kris Marshall) after last season’s devastating fire and ongoing fertility concerns for Lady Babington (Charlotte Spencer) as well as the unexpected return of one character’s former beau, and this sophomore season’s opening episode is overstuffed with incident.
Characters aren’t given much time to breathe and develop, as melodrama threatens to overwhelm proceedings. But, just when you think the dialogue is getting a touch too expositionary, you’ll find yourself excited by the latest twist, or captivated by a tender moment, or seemingly unguarded aside.
As with Bridgerton, music plays a key role, although here it’s of the stirring, full orchestral variety (almost Game of Thrones-esque at some points), rather than delicate string throwbacks of modern day pop songs.
Perhaps down to the absence of the frame of a source text, Sanditon occasionally feels a little too sprawling, trying to touch on too many causes and crusades, as it weaves its ongoing narrative of love, lust and loathing. However, fans of early 19th Century period dramas will certainly not be disappointed.
Season 2 of Sanditon begins screening on UKTV tomorrow at 9.30pm. Episodes will also be available on Sky Go.