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Harriet played here by Maiya Louise Thapar, Jade Kennedy as Jane, Peter Losasso as Churchill, India Shaw-Smith as Emma, Rose Quentin as Augusta and Oscar Batterham as Elton at the picnic that was to change the twisting course of our Regency romances Pictures: Simon Annand Emma Birmingham Rep ***** Jane Austen’s meddling matchmaker is back, leaping from page to stage in this absolutely sparkling extravaganza of wit, charm and social mores which carries you along with a glorious sense of fun and theatrical magic. It is blessed with a cast who bring the genteel world of drawing rooms and picnics in Regency England to splendid life with their immaculate timing and wicked one liners which show just why Austen was and is one of our most celebrated novelists. India Shaw-Smith is a wonderful Emma Woodhouse who, as Austen told us was "handsome, clever, and rich, with a comfortable home and happy disposition" and just to be sure were knew what this meant in 1815, she "had lived nearly twenty-one years in the world with very little to distress or vex her." Shaw-Smith' s Emma is all that and more. She is self-assured, confident and knows instinctively what is best for her friends and neighbours . . . particularly in planning and plotting their love lives and marriage chances with meticulous care. Sadly, matchmaking and meddling may share a starting letter but any similarity ends there. To put that in context marriage in the early 19th century was not so much love, romance and loveydoveyness, it was a tool. A good marriage was not so much the till death us do part route to happiness as a gateway to securing increased wealth and social standing. Which takes us to Harriet Smith played on Press night by Lukwesa Mwamba, the understudy, not that you would have guessed had we not been told, she was superb. Harriet is an orphan or some such taken in by the Woodhouses and she had become Emma's "project". Harriet had fallen for farmer Robert Martin and he for her, but in the eyes of Emma with her genteel brand of snobbery, that would never do, her project, nay protégée, her lady in progress, could do much better than a mere farmer. Which is merely the opening of a veritable Pandora's box of misunderstandings and emotional disasters caused by Emma's attempts at helping love flourish, all starting with the very best of intentions and ending in less than best kind of results
India Shaw-Smith as Emma and Ed Sayer as George Knightley Mind you she only had a minor part to play in the marriage of the local vicar, Philip Elton played by Oscar Batterham who, initially, keeps his social climbing ambition hidden behind a cloak of differential politeness until a misunderstanding – there is a pattern developing here - sees him taking a leave of absence to rebuild his reputation He perhaps achieved his ambition for upward mobility with a whirlwind marriage in Bath to Augusta Hawkins, daughter of a shipping family and ostentatiously wealthy and well connected. Rose Quentin seems to be having the time of her life as the vulgar, ill mannered and totally socially tactless and pretentious harridan. Emma might be snobbish and have airs of superiority, but they are refined, ladylike and socially acceptable, at least in the society she inhabits, Augusta, in contrast, denigrates the rural backwardness and village life of Highbury, boasts about her family and the wonders of Bath and happily turns obnoxiousness into an art form. It leaves the vicar fearfully placating and indulging Augusta on one hand and at the same time trying to be polite and explaining it is just her way and she doesn’t mean it to the people he has to live with. But back to Emma who not only misundertstands everyone else's feelings but confuses her own, with feelings from childhood for Frank Churchill, who left some four years ago and has been looking after his inheritance, which comes in the form of an ailing and dying (hopefully sooner rather than later) aunt.
Emma Woodhosue with her father played by William Chubb Frank, played by Peter Losasso, is a personable young man who clearly appreciates his friendship with Emma, but . . . and this is where Jade Kennedy's Jane Fairfax comes in. Emma, Frank and Jane were childhood friends and when it comes to Jane, Frank, it seems appreciates more than just friendship. It seems it is a triangle with just two sides. Whether that explains the sort of love hate relationship Emma has with Jane is not clear, but it could also be that Jane is cultured, educated, musical and seen as a better singer – Kennedy gives a beautiful, a capella version of the haunting 16th century Coventry Carol at the Woodhouse Christmas party. And then there is the expensive piano Jane was sent by an admirer . . . Amid romcom gymnastics orchestrated by Emma is the stability of Ed Sayer as a splendid George Knightley. He is the moral compass. The one who can not only see Emma's faults but can call them out, but never nastily, always objectively. He is a wealthy landowner, a family friend and a man of honesty and integrity, and we first find him as a guide and mentor to the younger Emma. And then we have William Chubb who takes the role of Mr Woodhouse, Emma's father, and elevates it to comic genius. His timing, facial expressions and asides are comedy gold and never underestimate the power of the pause to amplify the line or gesture that follows. As a father he perhaps indulges his daughter far too much, which perhaps to some degree explains her spoiled nature. She has wealth and has always been allowed to get away with anything and everything so that has become a way of life. She's always right even when she is wrong. Meanwhile back in the romantic bunfight it all comes to a head at a picnic on Box Hill when insults and accusations fly like leaves in an autumn gale, all started with a game of secret or forfeit initiated by Frank. It ends speedily with people vanishing in all directions in huffs or being followed in attempts at placation – until . . . off stage right appear marauding bandits and Churchill and Knightley rush off to defend the womenfolk. And that is the catalyst to unravel the marital messes Emma has created. Our farmer Robert Martin played by Daniel Rainford, leaps back into the fold after arriving to help drive off the robbers and save the outnumbered Knightley and Churchill. When the three men eventually return, allaying fears they had been beaten up . . . or worse, the slate had been wiped clean, or to be more accurate, Emma's meddling had been pushed aside, real feelings took over and even Emma was to find what she wanted. Love's sweet bloom. . . had . . . well bloomed.
In some ways Austen created the first coming of age novel, with 20-year-old Emma not so much being brought down to earth after her do anything, arrange everything teenage years, more growing up into a more responsible and mature adulthood. The adaptation of this comedy of manners by Ryan Craig is littered with one liners, witty retorts and delicious set ups and the running time of 2 hours 35 minutes flies by in a whirl of laughs, smiles and wonderful action from a magnificent cast and brilliant ensemble. Director Stephen Unwin has the ensemble dressed as maids and footmen to carry out super efficient scene shifting on a highly effective minimalist set from Ceci Calf with a polished Regency wooden floor and an elaborate period angled ceiling above to set the period along with splendid costumes of the age. Ben Ormerod's lighting adds to the production with subtle changes to follow mood or time and atmospheric changing colour tints to a cloud panorama at the rear of the stage. This Theatre Royal Bath production is quality from beginning to end, capturing the period and Austen's novel quite beautifully to create a contemporary yet faithful version of a classic., a Regency romcom. It is funny, beautifully acted and simply a joy to watch. To 04-10-25 Roger Clarke 29-09-25 |
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