Premiering on Saturday, Feb. 24 at 8 p.m. ET on Hallmark Channel is the Hallmark Mahogany adaptation of Jane Austen’s Sense and Sensibility featuring an all-black cast.

The period film which takes place in the early 19th century follows the two Dashwood sisters Elinore and Marianne and their widowed mother as they are forced to leave their rich family estate at Norland Park and move to Barton Cottage, a modest home on the property of distant relative . There Elinor and Marianne experience love, romance, and heartbreak while dealing with their new found poverty.

The film stars Deborah Ayorinde (as Elinor Dashwood) Bethany Antonia (as Marianne Dashwood), Akil Largie (as Colonel Brandon), Victor Hugo (as John Willoughby), Martina Laird (as Mrs Jennings) and Victoria Ekanoye (as Lucy Steele).

Cast members also include Dan Jeannottte, Susan Lawson-Reynolds, Edward Bennett, Beth Angus, Anna Chrichlow, Daniel Boyd, Carlyss Peer, Dimitri Gripari, Katrina Grace-Paseda, and Julian Firth.

Roger Bobb directed from a script by Tim Huddleston, based on the Novel by Jane Austen. Tia A. Smith and Toni Judkins are executive producers. Set in Regency-era England, it features original costumes by Kara Saun (“Project Runway”) and hair designs by Kim Kimble (Euphoria). Author and historian Vanessa Riley (Island Queen) served as a historical consultant

The movie is part of the network’s Loveuary with Jane Austen programming event, honoring the author’s timeless legacy with four all-new original movie premieres, every Saturday in February.

Blackfilmandtv.com spoke with executive producer Tia A. Smith and actress Deborah Ayorinde on the making on this adaptation.

What went into putting this film together?

Tia A. Smith: It was amazing. First and foremost, I am a card carrying Jane Austen fanclub, so this was a dream come true for me as a creative; and producing it really just leaning into love romance, women being centered and making sure that, you know, we focused on the vulnerability of the characters, all of the ways that they and the choices that have been made, were really exciting for me. I got back in the saddle was Roger Bobb, which was awesome. We've done three or four films together previously. And so we just really leaned into the story. And I was excited that Hhallmark’s division was taking this IP and making sure that we can see an African American woman play this role that's normalized, showing the different tones of what she has to decide as a woman the things that she supports. So all of that was just a dream to be able to produce and bring to life. I'm completely honored, I believe that people will be excited about the details, we lean into that too, as I say love is in the details. So everything was intentional, there was not a decision made that was whimsical.

Some of these details like that, looking at window panes, and the palaces and the cottages, that we were at, making sure that we could get with visual effects to make sure that we didn't have any drop down windows that everything has to be, you know, visited to a single pane to the curtsies to the protocol to the surnames, and how people were placed. Just all of the interactions, the details, the hair, working with Kim Kimble. And making sure that our hair was textured that we had the the proper signals that we had hair that was up that was period appropriate, and accurate. And then, working with Kara Saun, who created which turned out to be 25 designs, for our production ended up being 68 originals that they did in 20 days. As you know, producing all of those things, making sure that it all comes together on time, people play well, that people bring their A game, that they have the resources, making sure that the story is intact; and all of those decisions. were intentional.

But you can't do it without a fabulous team. We have an amazing consultant in Vanessa Riley, who again made sure that we were accurate. A lot of places take liberties. And that's great. That's their decision. But with this body of work, we really wanted to make sure that the accuracy was there, that it wasn't a distraction. And it really just served the regency era and also for what Hallmark was doing.

What went into saying yes to taking on this project?

Deborah Ayorinde: Unfortunately, none of us are seen in roles like this. And so I didn't know that I could do this. But when I started looking into it more or talking to my team, I was like, why not? And so for me, that's what goes into a lot of the roles that I take on, it's like, why can't I play this? Why can't I think that, playing roles from my role in Them to Girls Trip, and to Riches. For me, I just want people who look like me to feel seen and to feel like they can be anything and do anything. This is another addition to that mission.

Can you talk about the casting?

Tia A. Smith: Well, technically, during the time we weren't in the strike. And you know, Deborah was the top choice from a network sensibility. When I got the call from from Toni, she was like, we want that Deborah. A wonderful story is that Deborah got the script. And she admittedly had said, “I don't know if I could do this, you know, I'm not sure I'm a little bit intimidated.” But then one of one of Toni's coordinators in her department went to Howard with Deborah. So we had a little bit of a black girl magic moment where this one called this one, and really, you know, brought it together for us. And then, as Deborah herself started to learn about what I just talked about, that we actually held space, that these are the things that were happening back then, even though a lot of our history books don't show it. She said, “Yes, I need to be there. Why not me.” So Deborah was a shoo in. And then Dan, who's brilliant, also, our Edward is familiar to the homework family. So that was wonderful to have him involved. And then the UK actors from Bethany to Akil to Hugo, it was a beautiful big ensemble cast, that just really leaned in and brought it to life.

Have you seen any of the adaptations to Jane Austen’s work?

Deborah Ayorinde: I've seen Sense and Sensibility, the version that Emma Thompson did and it was beautiful. And I love the fact that we did our own spin on it, our own reimagining of it, while still staying true to this classic story, I'm just really, really proud of what we did.

How do you relate to the character?

Deborah Ayorinde: With every character that I play, I have to be able to understand and relate to that character. And this is no different. I feel like Eleanor is in a place where she is holding it so much inside of her. And because she doesn't have the luxury of being able to exhale and breathe and just be as whimsical, passionate as Marianne. And that's her journey. And I can definitely relate to that. When you're in a space where you have to keep it together and feel so responsible. And you can just be free. It's really It felt really good for Eleanor to kind of go on that journey and in a space where she gets her happy ending, and she's able to give herself to love. And so that was just really, really beautiful to play.

Can you talk about the costumes and hair styles?

Deborah Ayorinde: The minute I heard that Kim Kimble was on this, any worry that I had went away. I didn't know Kara Saun was on it yet. Any project I go on, I asked who is on there, and who is on makeup. Just to make sure that I'll be taken care of and I can not worry about things that are not my job. The minute that I heard that Kim Kimball was was setting up hair. I I realized I was like, Sign me up. Secondly, I can just breathe and thirdly, oh my god, Kim Kim is the legend. They helped me transform into the character I’m playing and it was wonderful.

How was working with Roger again?

Tia A. Smith: Roger, he's my friend, he's a colleague, he's brilliant. And while we've done things that were lighter, and one would say, that's what he's known for. I love seeing him stretch, I direct also. And I was like, Roger, “this is just a beautiful rhythm for you.” And honestly, from the beginning, he said he was in. He was like, “I'm over here on this performances, I got my shot and everything together, I want you to handle everything, visually, from the production design to make up to everything else,” of course, he was aware of it, he was concerned with it. But he did a full deep dive into a tone. And I don't want to say that he stretched because I think that it's always been in him. But it was lovely, to see him in more of a dramatic approach as a director. It was it was beautiful to see. And as you know, he is also an AD by heart. So you know, it's wonderful. You don't want your director to be worried about time and things like that. But he even admitted he said to you, I cannot not think about time.

So as a producer, it was wonderful. Because we were together and in sync and making the day, making sure that yes, the creatives there, we got everything we needed, but that we were efficient, that we respectful of time. Now, when we did need the time, we talked to people and we did the deals, right? But just to be that well rounded, is a joy to me as a producer, and it's just a wonderful partnership. And in return, I had his back on whatever he needed a to be. Should we go back in? Should we get another take of this? What did you think about that? So it was beautiful to collaborate with him. His presence is awesome. And I'm just happy that we we got together again to create some good stuff.