Inside the Bank of England Museum, dancers in flowing satin gowns and tailcoats twirl to violin music at a Jane Austen-themed ball marking the author's 250th anniversary. The event is part of a wider revival of Regency dancing by historical societies across the country, drawing Austen enthusiasts and fans of Netflix's Bridgerton alike.
Participants praise the social aspect. Irina Porter, a regular attendee, notes: 'People who take part in these events get a lot of personal interaction – and that’s something we are gradually losing.' Gemima Lodge, 40, adds: 'It’s a really effective socialising space. You see the same faces and start making connections.'
Costumes are carefully crafted. Mary Davidson, 26, and Lian Cooper, 37, sew Regency-era dresses from old bedsheets, curtains, and secondhand sarees. Davidson explains: 'Everyone is so disconnected, stuck behind their phones now. We’re harking back to the old times.' Specialist tailors and online Bridgerton-inspired outfits are also popular.
Dance steps are reconstructed from 18th-century manuals. John Playford's 1651 The Dancing Master and Thomas Wilson's diagrams are key sources. The Beauchamp-Feuillet system, published in 1700, recorded courtly dance movements in geometric patterns. Dance historian Jennifer Thorp notes: 'It’s the first visual guide we get... floor plans telling people where to go.'
Paul Cooper, of the Hampshire Regency Dancers, transforms written instructions into animations for easier learning. 'The instructions are close to being a computer programme,' he says. 'There’s iterative activity and a sort of algorithm to it.' He also resolves ambiguities in the historical texts.
Some dances require modern adaptation. The Triple Minor, popular in Austen's era, involves three couples with one carrying most steps. Organisers adjust such dances to suit contemporary tastes, ensuring all participants stay engaged.
