ONE of the best-loved works by perhaps the nation’s best-loved author arrives by carriage at the Talisman in the shape of Jane Austen’s Emma.
If the calibre of the novelist were not enough then the name of adaptationer-in-chief Andrew Davies, the pen behind many of TV’s golden drama moments and the theatre’s own staging of Pride and Prejudice, is enough to have filled the auditorium and added two extra sold-out shows.
Having had such a box office success with Pride and Prejudice the Talisman, and director Corrina Jacob understandably keep the formula intact. A repeat order on setting, costumes and style feels almost like a brand is emerging.
Bringing such an expansive novel to the stage is not without its challenges. Cramming the full scope of Austen’s book into an evening without inducing yawning and cramp in equal measure is not easy, but on the whole it is handled well.
The action is presented as a series of swift vignettes with no scene seemingly lasting more than a couple of minutes. This gives the theatre a problem. Where Andrew Davies could always rely on establishing shots and pastoral views to bridge the gaps on TV, the Talisman has to work at breakneck speed to shift chairs, false windows, carriage benches and even a pianoforte with only the odd burst of music to cover.
But they do it well and the overall effect, though far from seamless, is efficient and enjoyable.
It’s a big cast. Plenty of moments see a couple of characters in conversation with half a dozen or more lined up behind. Good to report then that all seem to play their parts well in such an ensemble piece.
The central characters of self-centred matchmaker Emma and patient critic Knightley are in good hands with creditable and confident performances from Rose Kenny and Chris Bird. Both characters have evident faults and foibles but the fact that we forgive them and follow them warmly shines through in these two performances.
Elsewhere there are strong contributions from Graham Buckingham-Underhill as the hypochondria father, Sion Grace as the over-effusive vicar and Kathy Buckingham-Underhill as the gauche butt of many raised eyebrows.
Steve Sanday’s design offers a convincing period feel while also allowing the necessary versatility.
The need to shoehorn in so much narrative and so many characters means there is no real opportunity to delve into character beyond the superficial and precious little chance to relax. But, setting aside Austen’s trenchant observations on the society of which she writes, there’s enough in the story and its gentle wit to entertain and this ambitious and faithful production does not disappoint.
