Translating the inner to the outer is the challenge facing many an adapter of novels for the stage.  Some things skip from page to stage whilst others have to be dragged, bullied and injected with various performance enhancing concoctions.  The present offering at the Theatre Royal, however, seems to have developed a resistance to any such persuasions.

Emma remains to this day a penetrating, almost forensic and witty story of an intelligent, imaginative young woman whose constrained circumstances, by the norms of the day, turn her into a meddlesome, insensitive and misguided snob.  Bethan Nash as Emma comfortably exhibits all the misdirected energy of the character.  Peart and strong willed she has a persuasive eagerness hard to resist by one of assumed inferior social rank – such was the inescapable caste system of the day.

Libby Watson’s circular pit of a set with bordering narrow walkway and gigantic looming candelabra stands, we assume, as a metaphor for the constricting, crushing conventions of early 19^th century Surrey’s polite society – in short for a life circumscribed.  It’s a clever idea that brings with it its own problems.  The action such as it is takes place largely within the circle or walkway, which, for example, leads to some particularly clumsy and awkward dancing. Another problem not entirely resolved is that in order for Emma to break out of the one-ringed circus she has to use a proxy in the form of the sweet and malleable Harriet Smith (Polly Misch) whose matrimonial prospects she arrogates to herself. So much comes with the novel of course, but the theatrical device (the set) is not utilized to any further effect and an opportunity to use all the tools at the director’s disposal goes wanting.

On stage the unity provided by the narrative voice on the printed page is necessarily sacrificed, with the result that what we have is more like an episodic soap opera, which in the constrained format of a two-hour show does not allow the director, Colin Blumenau, to draw the audience in to the lives of the characters. The resulting danger is that what remains may appear vapid and inconsequential.

The cast are a mixed lot consisting of both the experienced and the tyro who all nevertheless give well-drawn characters with a proper regard for the style of the piece.  The experienced Philip Edgerly, for example, as the patient and all-knowing Mr Knightly is the reliable oarsman who steers Emma and us through to the self-knowledge and happy outcome that awaits the honest and enquiring mind.

Austen fans will find nothing to give offence whilst those seeking a theatrical experience might wonder what was gained in translation.   ★★☆☆☆   Graham Wyles   6^th June 2017