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It is a truth universally acknowledged that if you are going to produce a staged version of Jane Austen's 'Pride and Prejudice,' it had better be good.

Unfortunately, Austenites will be torn between appreciating The Shakespeare Theatre of New Jersey's production of 'Pride and Prejudice' for its noble attempt and being disappointed in the delivery.

The production takes on a lot by including almost every character and event of the lengthy novel, but falls short of pacing it fast enough to keep the audience engaged. The older players hold the production together with strong acting and stage presence, but the younger actors don'¿½t quite make an impression.

'Pride and Prejudice' is the story of the five Bennet sisters, living in England in the 18th century, and their mother's attempts to get them married off to wealthy husbands. The novel revolves specifically around Elizabeth, the second oldest, and the lengthy, banter-filled courtship between her and Mr. Darcy, the friend of the Bennets' wealthy neighbor.

Edmond Genest and Monique Fowler, playing Mr. and Mrs. Bennet, carry the show, delivering their lines with perfect timing and supplying comedic relief to the pace of the play, which drags otherwise. Their interaction perfectly captures their relationship -- a vain wife concerned only with marrying her daughters off and a husband who married her out of infatuation, only later realizing that they are not intellectual equals. Genest's irony and Fowler's hysterics had the audience captive and laughing.

Victoria Mack and Marcus Dean Fuller, while good at creating the chemistry of their banter-filled relationship, play their roles almost just as they are written, with a few inaccurate attempts to make them more human onstage.

Fuller plays Darcy tall, dark and brooding, as he should, but his facial expressions show far more emotion than Austen's Darcy ever would have betrayed. He smiles too much, and this adds nothing useful to the character.

Mack's Elizabeth is by the book, as well as by the movies. She delivers her lines clearly and has great comedic timing, allowing the audience to understand Austen's subtle irony. However, she seems to have fashioned her role according to every Lizzy Bennet that has gone before her.

The weak point in Bonnie J. Monte's direction is the introduction of chemistry between some of the characters that is simply not in the novel. Prolonged, admiring glances permeate the production and add nothing to the audience's understanding of the plot. For example, Jessica Ires Morris' Charlotte Lucas casts way too many of these looks at Mr. Collins (Michael Stewert Allen), whom she marries, completely destroying one of the most poignant relationships in the novel -- their marriage is supposed to be one of convenience, not of love.

Instead of inserting chemistry that was not originally there, Monte should have sped up the play's pace. It certainly felt longer than its three hours.

This production is also guilty of something many reproductions of the novel -- do it has Darcy and Elizabeth kiss -- not once, but twice. While this is certainly implied in the novel -- they do get married, after all -- it never actually happens within the story's pages.

Just as a reader can make an educated guess as to what happens next, so can an audience'¿½the kiss added nothing to the play.

Saluda Camp's Mary Bennet, Elizabeth's sister, however, was one of the production's saving graces. Camp brought Mary to life without assuming too much or conjuring up dimensions that aren't there.

She took the potential that Austen gave Mary and made her into one of the play's most sympathetic characters. Camp played Mary as contemplative and bookish, but also gave her a liveliness that many portrayals of the character neglect.

Her attraction to Mr. Collins, while not obvious in the novel, makes sense for the character.

The set, designed by Michael Schweikardt, was easily transformed from Longbourne'¿½the Bennets' home to Netherfield, Mr. Bingley's home to Pemberley, Darcy's home, and back again.

The colors are mostly rich and deep, but change to reflect each scene's mood. Kim Gill'¿½s costumes fit in perfectly with the era and complement the colors of the set. Although, between Elizabeth's dark hair and yellow dress, one couldn't keep the image of Belle from 'Beauty and the Beasts' far from her mind.

The play is worth seeing for true Austen fans, and anyone who loved the novel 'Pride and Prejudice,' if only for the chance to see their favorite characters come to life on stage.

Just beware that while the characters are mostly accurate, there are some frustrating discrepancies in their interactions.

Those looking for a good, fast-paced, entertaining night at the theater, sadly, must look elsewhere.

The play, in its attempts to please Austenites, is too long, and not worth seeing if you haven'¿½t read'¿½and fallen in love with'¿½the book.

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