Jane Austen’s Emma

Arena Theatre Productions’ season of Jane Austen’s Emma is an original adaptation that is faithful to the novel and true to its subtitle of being “a classic tale of love and life and love”. The first “big” production of this recreated company, it augers well for a bright future.

The production features a narrator in the persona of Jane Austen. Played by Ashlee McKenna with lovely inflection, and a gorgeous look, she is not separated from the action, but cleverly interacts with the characters, “tweaking” the action. I would have liked to have seen tighter diction for this device to reach its full potential.

Title character Emma is beautifully played by Kate Naunton Morgan, with a lovely self-assurance, clipped accent, and great poise. The heroine that Jane Austen said that only she would like, wins over the audience despite her faults, in this well-crafted performance. Nice work also from Robert McDonough, as Emma’s fusspot father, Mr Woodhouse, a clear audience favourite.

Love interests, mysterious Mr Frank Churchill played by James Ford and the familiar Mr Knightley played by Garrison Cox, looking like a young Hugh Jackman, both are worthy suitors, with dignity and manners. It is less easy to see the attraction of Jack Riches’ repellent Mr Elton, who perhaps played his cards a little early, and at times felt like he was from a different show, despite obvious talent. Nathan R. Bonham worked hard, aged up to play Mr Weston.

Sweet and ladylike performances from Millie Hillman as naive, natural born Harriet Smith, and Poppy Lindsell, not given a lot to work with as Jane Fairfax.

Lovely character performances from Kellie White, gloriously obnoxious as Mrs Elton, Taneal Thompson lonely and garrulous as Miss Bates and Maria Passalacqua as deaf, demented, and delightful as Mrs Bates. Callum Vinsen, owner of an impressive though incongruous long plait, had some interesting facial expression, but was allowed to pull focus as the Servant. He also played Mr Martin.

Played against curtaining, with some lovely furnishings used to create the settings, costumes were used effectively to create character (although a costume change for the ball might have been nice), good coordination by Megan May, Yen Arbilla and Taneal Thompson. The show was effectively lit from a design by Jayden French. 

An unexpected highlight of the show was the dancing at the ball, choreographed by Maria Passalacqua and executed with precision by the cast.

Lovely to see a classic novel on stage, especially in a production that was locally adapted. Congratulations to Arena on a successful relaunch.

Kimberley Shaw