Premier’s Lend Lease English Literature Scholarship
Regency romance meets reality TV—
Jane Austen’s Regency world in the
Regency House Party program
Susan Stevens
Gosford High School
Sponsored by
What most of us know about this period [the Regency 1811–1820] is gleaned from the
literature of the time, in particular from its most famous novelist, Jane Austen.1
So said Caroline Ross Pirie, the series producer of the 2003 British reality show, Regency
House Party. The stated aim of this series was to ‘bring the Regency back to life’ with its
‘dashing heroes and spirited heroines’ and to recreate the Regency world ‘down to the
smallest detail.’2 The producers publicised their close links to Austen’s novels, especially
this attention to detail that required their Mr Darcys and Elizabeth Bennets to shed all
the vestiges of their 21st century lives as they took up residence in a 14th century
ancestral home on the border between England and Wales.
On the website advertising the series, Pirie went on to add that when looking for suitable
candidates to participate, she wanted, ‘… the modern day equivalents of the people who
feature in Jane Austen's popular novels—Pride and Prejudice, Northanger Abbey, Emma,
Persuasion and Mansfield Park.’3
As the producer of other reality shows that relied on a specific historical basis, including
Manor House, The 1900 House and 1940s House, Ross Pirie clearly has an interest in
recreating the past and in representing it in a popular form that happily blurs the
distinction between fact and fiction, reality and entertainment.
Reality TV is the dominant genre of our time, and its aim to expose the private and
closed by making it public and open appears at odds with the small 19th century
domestic world of Austen’s novels. Added to this was the notion that the Regency world,
with its emphasis on courtship and marriage in a highly stratified society, was represented
in the series by just an assembly of 10 contemporary men and women, ‘to live and love
as their Regency forbears had done.’4
So Jane Austen’s world apparently came back to life in 2003, not as an adaptation of one
of her stories, but as a living, breathing ‘social experiment’, caught on television over
eight episodes and with its own website at
http://www.channel4.com/history/microsites/R/regencyhouse/
In March/April 2006 I travelled to the United Kingdom to research how closely Austen’s
world was represented in this series. The mixing of a canonical author and her 19th
century world with 21st century popular culture proved an interesting and illuminating
task. While not a fan of reality television, I agree with media expert James Friedman that
its form cannot be ignored, as ‘no genre form or type of programming has been as
actively marketed by producers, or more enthusiastically embraced by viewers, than
reality-based TV.’5
On the other hand, after my investigation I cannot agree with a 2004 American review of
the show that stated that the producers of Regency House Party ‘… seem to think if they
just slap Jane Austen’s name on the project, it will give it some class.’6
Montage of scenes from Channel Four’s Regency House Party aired in 2003.
Britain, culture, history and reality TV
It was not until my study tour actually immersed me in the day-to-day life and culture of
the British, that I became aware of their twin obsessions: their sense of their own rich
history, and their love of reality television. And it is the latter that is most obvious in their
popular culture.
Reality TV dominates television schedules on all five free-to-air television stations, which
offer programs as varied as Flog It, where an undercover auctioneer visits an area in order
to find items to sell later at auction; Mind Your Own Business, which offers professional
help to struggling family businesses, and You Are What You Eat, with a doctor who visits
families and makes suggestions about their diets. Of course, there is also advice on how
to tame the dog in It’s Me or the Dog, with animal behaviourist Victoria Stilwell; how to
tame the children, with Super Nanny Jo Frost, and how to tame the house in Disaster
Masters, with restoration experts.
Even the news is interactive, using talkback television to provide more infotainment than
information and analysis.
It’s no wonder then that a show that combined both obsessions would be a winner in
Britain. Regency House Party offered a nostalgic view into the private world of the very rich
in the early 19th century—a time of magnificent architecture, beautiful ‘interior design’7
(a term first used during the Regency), rustic lifestyles amidst the unhurried social world
of balls, garden parties, and ‘Rule Britannia.’
This show followed other House successes already mentioned, and belongs to a subgenre of reality television in that it represents a specific historical, political and social
period where the house ‘guests’ (the cast), who do not know each other, are suddenly
thrown together and have to live in the same environment for three months under very
specific rules and regulations.
Reality and television—mutually exclusive?
Reality television is supposedly unscripted and unrehearsed, using ‘ordinary people’ and
surveillance cameras to record any action taking place. It attempts to represent reality
and, while it is very diverse—from Big Brother global formats to game shows and almost
documentary style programs, the texts are all linked by their ‘discursive, visual and
technological claim to “the real”.’8
Regency House Party was an expensive and lavishly produced television program which
employed many of the conventions of reality TV. The narrative was driven more by soap
opera than historical documentary, with its serialisation over eight weeks and character
driven stories focusing on the emotional and controversial aspects of life in the house.
Television cameras and three diary camera rooms recorded the day-to-day life in this
manufactured situation, and clearly the editing of this material over a nine-week period
into eight one-hour episodes helped to shape the audience’s perceptions of what was
‘real’.
On the other hand, this type of program is proud of its historical basis, and without the
Regency setting and environment, this house party would be little more than a lively and
intelligent Big Brother.
Certainly the series blended information and entertainment, and in many ways was a very
ambitious project in attempting to take ten 21st century people and make them
comfortable and happy living in an environment far removed from their own.
However, the recreation of the Regency Period was closely researched and many of its
social, economic and cultural aspects were as authentic as possible, allowing for our
modern day and possibly nostalgic and romanticised viewpoint. Presenting the ‘real’
world of Jane Austen, Beau Brummell and Richard Brinsley Sheridan underpinned the
whole series from beginning to end. And to a degree greater than I had expected, Regency
House Party did bring aspects of Austen’s world to life.
Selecting and preparing the house party guests
Larushka Ivan-Zadeh, who played the highest ranking woman in Regency House Party, is in
real life a countess, and she attributes her selection to this background. Her letter of
confirmation pointed out that over 30,000 people had applied to take part in the project,
partly supporting Ross Pirie’s claims that, ‘If the popularity of Jane Austen’s novels and
their screen adaptations is an accurate gauge, it seems we yearn for the lost age of
courtship and romance.’9 Of course, the possibility of becoming a television celebrity
may also have something to do with it.
The supporting package that was supplied to the selected applicants is illuminating.
‘What you are about to embark upon is an attempt to give TV audiences an inside view
of what life was like for people involved in the mating game in Regency country house
society. That world characterised in the novels of Jane Austen.’10
Chris Gorrell-Barnes was selected to be the highest ranking male of the house, the host
in effect. His description in the literature pertaining to the show again reminds of the
links to Austen. ‘Tall, dark, handsome, well-heeled and with an alluring hint of arrogance,
Chris was a veritable Mr Darcy and would surely prove a source of considerable interest
for all the female house-guests.’11 This is presumably the modern day equivalent of
Austen’s famous quote about courtship and marriage: ‘It is a truth universally
acknowledged, that a single man in possession of a good fortune must be in want of a
wife.’12
The selection process complete, the preparation for the house guests in their early 19th
century setting began. This included a detailed and exhaustive program on customs,
manners and day-to-day living, all with the intention of ‘… making your Regency
experience as authentic as possible.’ The sense of bringing history to life was also
recognised in this early stage: ‘We have brought the best brains to the project … [but]
none of the experts we’ve consulted have ever lived the experience as you will.’13
The amount of information needed to be learnt by each guest is intimidating. For women
in the 21st century, much of what they read about their soon-to-be-transformed-to the19th-century lives must have appeared more daunting than romantic. The list included:
modes of address, the rules of chaperonage, dining etiquette, placement and the rules of
precedence, female deportment, toilet routines, dancing, letter writing, fans and the
language of fans, religion, and so on. And these are only the major headings; under these
came another set of rules and regulations for the ‘game’. In fact, over 55 pages of these
very specific rules had to be followed in order to make the drama as ‘real’ as possible. All
the information supplied was drawn from primary sources.
Miss Bennet, I presume
Once guests were dressed and ready to enter the Regency time zone they were each
presented with a personal profile. This is not unusual in this type of program, where
applicants are taking on a role which they are expected to maintain for the duration of
the show. Reading the notes supplied to Larushka Ivan-Zadeh, however, it becomes clear
that what made this profile more demanding was the need to transform, and in the words
of the producer, hopefully ‘translate the person you are now into the person you might
have been had you been a guest to our Regency house 200 years ago.’
Applicants were reminded again in this profile that they were playing a very specific role
in the social environment of Austen’s Regency England, which was highly structured,
and that their participation and cooperation were expected, as well as their decorum and
gentility: ‘It is vital you understand the etiquette and protocol relevant to your position
within the household.’
In Larushka’s case this was straightforward, as she was the highest ranking woman in the
house due to her character’s ancient lineage. Born in 1784 into privilege, boasting
Russian and French aristocracy in her family, and sporting a title, her rank reflects
Regency England’s views on the class divisions which were deeply entrenched in family
connections and wealth. Jane Austen herself is often critical of the upper class in her
novels, but she also writes about a society that has limited social mobility and a strong
sense of class consciousness.
The Regency’s views on gender roles are also reflected in the characters’ profiles.
Larushka’s character, Madame La Comptesse, had the title and breeding to make her a
strong marriage candidate. She was well educated, well travelled and accomplished in all
the arts expected of women at the time. What she didn’t have was any money. Social
advancement for young men without property in the early 19th century was possible
through the church, the military and, although frowned upon as somewhat vulgar,
possibly a profession such as the law.
None of these avenues were open to women, of course, which meant that the most
important option for women to achieve a secure life was to make a successful marriage.
And this is reflected in all of Austen’s novels.
To fulfil her role, Larushka had to present an image of wealth, refinement and breeding,
and hide her economic crisis from any prospective suitor. Again, this is quite plausible
given that couples in this period would not have known each other very well before any
engagement, and that once bound, separation or divorce almost impossible.
Many of the ideas and characterisations of the different roles of the women represented
in Regency House Party were borrowed from Austen’s novels, especially Pride and Prejudice.14
But Elizabeth Bennet, although impoverished and needing to make a ‘good’ marriage, is
not the social equivalent of Madame La Comptesse. Miss Elizabeth Bennet would have
been lucky to have been invited to such an elegant affair. And if the whole adventure was
based on the Netherfield House party in Pride and Prejudice, it is worth remembering that
Elizabeth was never invited there, and was only tolerated on sufferance in order to tend
to her sick sister.
Gorrell-Barnes and Ivan-Zadeh in
their roles in Regency House Party.
Meeting with Larushka, London, April 2006.
Touring with Jane Austen
As much has been made about the close relationship of this television show and the
world of Jane Austen, a great deal of my study tour involved visiting the landscapes of
Austen’s world. By ‘landscape’ I mean the wider definition that encompasses both the
geographical settings and the social and cultural contexts. Austen’s landscapes are clearly
established in her novels and they provide us with a clear and precise picture of the world
in which she lived. Walking the streets of Bath and visiting the Pump Room, the
Museum of Costume and the Assembly Rooms, the Jane Austen Centre and even an
Indian restaurant set in a magnificent Regency ballroom, all contributed in a very real
sense to the daily life of those in the early 19th century. The Museum of Costume has a
section devoted to the Regency period, with beautiful white muslin dresses, perhaps just
like those worn by Austen herself when she wrote in 1801: ‘I like my dark gown very
much indeed, colour, make and everything. I mean to have my new white one made now,
in case we should go to the [Assembly] rooms again next Monday.’
The Assembly Rooms to which she referred are now beautifully refurbished, and walking
into them is like walking back in time and into an Austen novel. The rooms are large and
well lit and built to easily allow for a general meeting place for both sexes, for the sake of
‘conversation, gallantry, news and play.’15
Kentchurch Court, selected as the home of the Regency House Party guests, is located on
the border between England and Wales. While not a Regency House (it predates the 19th
century), it did have sections renovated and redecorated in the Regency style to allow for
as much authenticity as possible.
Other areas in England offered further insight into the architecture and housing of the
Regency. Lacock, a small village outside Bristol, was particularly interesting as it has been
heritage listed and is as well preserved as any 200-plus-year-old town could be. It was
used to film much of the 1996 television adaptation of Pride and Prejudice, as well as the
latest film version of Vanity Fair.
‘Jane’ and I in Bath.
Conclusions
Jane Austen’s texts are an important part of our popular culture, but most people ‘read’
Austen through her screen adaptations and not her novels. When Pride and Prejudice was
voted Australia's second favourite book in 2004, it was the 1996 series that was oft
quoted by ‘readers’ and not the book. So ‘reading’ Regency House Party may well provide
the audience with their only ‘real’ view of Austen’s world.
If that is the case, then ‘readers’ will gain a great deal from this series. In a report such as
this, the opportunity for detailed analysis is limited, but I have attempted to provide
some understanding of the breadth and scope of my investigation. Regency House Party was
a thoughtful and entertaining look at the early 19th century, and the insights into some of
the more obscure customs and habits were instructive. It endeavoured to cover a great
deal of territory in eight one-hour episodes, including romantic ideals, Regency food and
health, medicine, science, male pastimes such as alcohol consumption, and the Hellfire
Club, and had a colourful character in the form of a hermit living outdoors in the
extensive lands. Many of these are not covered in Austen’s novels.
Of course the show was shaped and constructed and did need to meet the expectations
of a 21st century audience. The inclusion of a woman of African descent as one of the
house party guests is an example of this shaping. Originally meant to be introduced in
the last episode, her character as a woman of fortune was introduced in episode three
once the series had gone to air due to viewer feedback.
The whole idea of taking 21st century citizens back to the Regency is also a questionable
process and the fact that none of the guests found their true love is testament to the
artificiality of the situation.
The female participants felt frustrated and bored by their daily lives in the 19th century,
and this frustration was played out weekly on the diary camera. This was the one
occasion when participants were allowed, even encouraged, to step out of their role. The
men on the other hand appeared to enjoy greatly the experience, revelling in the power
and attention and privilege that came with being a wealthy male in the 19th century.
Links to teaching
Regency House Party is related to the central idea of how meaning is made. ‘Reality
television’ is an influential medium in popular and youth cultures, but it is a misnomer as
it is clearly shaped and constructed. Any student would benefit from such a study.
Naturally, the show lends itself immediately to the Extension 1 Course Texts and Ways
of Thinking—The Individual and Society providing an insight into 19th century ways of
thinking.
It links to the Preliminary Extension 1 Course, Texts, Culture and Value where students
are asked to examine texts from the past which have been appropriated into popular
culture.
It is related to the content and text requirements in Stages 4 and 5, which specify that
students must have experience of social and cultural heritages, and literature from other
countries and times; also the Additional Content, which asks students to respond to
‘significant’ historical texts.
The current English syllabuses make explicit statements about information and
communication technologies that need to be incorporated into teaching and learning.
The result of this study would provide teachers with an innovative teaching and learning
program that is integrated into the classroom. Modern technology brings to life a world
seen by many students as arcane. The possibilities of quality teaching practices such as
contact learning, collaborative learning and rich-tasking are endless.
References
1. Jago, L, Regency House Party, p.7. Time Warner, 2004.
2. Ibid.
3. http://www.channel4.com/history/microsites/R/regencyhouse/
4. Jago. p.7.
5. Holmes and Jermyn, Understanding Reality Television, p.1. Routledge, 2004.
6. http://www.realityblurred.com/realitytv/archives/historical_houses/2004
7. Jago. p.15.
8. Holmes and Jermyn, p.5.
9. Jago. p.7.
10. Notes supplied to Larushka Ivan-Zadeh by the series producer.
11. Jago. p.35.
12. Austen, Jane, Pride and Prejudice, 1813.
13. Larushka’s notes.
14. The Museum of Costume, Assembly Rooms, Bath, Authorised Guide.
15. Ibid.