Austen's Women

It is disappointing to find that the first good piece of writing at this year's Fringe is not from an up-and-coming Scottish author, but a compilation of a nineteenth century woman's meditations on femininity, directed by a Fringe veteran. Immaculately conceived and performed with precision by Bex Vaughan, Austen's Women is an exercise in how traditional values - good words, simple sets, strong acting - can better radicalism. Going through fourteen of Austen's characters, the show exploits the range of characterisation that Austen had. From irritating teenagers through deluded romantics and mature-minded bores, Austen catches the recognisable detail, rarely descending into outright caricature. Of course, stripped of their context, each speech explores a different angle on the status, plight and ambition of women, building to a comprehensive and multi-layered conclusion. Austen has the most elegant irony, a cutting turn of phrase and a subtle mischief: Guy Masterson's adaptation of her most famous heroines and villains studies both the depth and intensity of her interests. While it might seem a conservative production, true quality shines through, and this is, amongst other things, a joy for anyone who cares about language.