Emma – Birmingham REP

Writer: Jane Austen

Adaptor: Ryan Craig

Director: Stephen Unwin

The titular Emma is an intelligent and wise lady. She uses her comprehensive understanding of human nature to observe those around her and gently guide them in their best interests. Well, that’s what Emma thinks. In fact, it quickly becomes clear that, as in the title of the 1990s loose film adaptation, she is often clueless.

Emma is headstrong, manipulative and class-conscious. If she sees her friends and acquaintances seeming to make poor choices in love, she cannot help but interfere to ensure that the status quo is maintained and no one marries above or below their station. She cannot entertain the notion that she might be mistaken, as she drives wedges between those lovers who are truly star-cross’d to direct them to her opinion of a better match. Needless to say, it all goes horribly wrong before finally unwinding.

While Ryan Craig’s adaptation is wordy, not a single word is wasted, and it is full to the brim with wit and genuine laugh-out-loud moments. Stephen Unwin’s direction makes the most of the script with well-judged pace, so we barely notice the time pass. That is undoubtedly helped by the minimalist set design of Ceci Calf and the well-drilled and choreographed ensemble, which moves furniture and props on and off the stage smoothly. Despite the wordiness, this is a cast that can also make dramatic and comedic points with little more than their stance, gesture or tilt of the head.

Central to the piece, and rarely off-stage, is India Shaw-Smith as Emma. Shaw-Smith has Emma’s innate, polite arrogance perfectly in the set of her head and her movement across the stage. In common with all cast members, her timing is impeccable, with any disconnects between her words and her body language exploited superbly to comic effect. And as the play goes on and she becomes a little more introspective, we can clearly see the beginnings of that awakening in her poise as well. There’s never any doubt that Emma truly believes she is helping people achieve their destiny, even as it infuriates the other characters.

William Chubb’s Mr Woodhouse, Emma’s father, gives a masterclass in character comedy. His physicality in the role shows just how helpless Woodhouse feels when Emma is in full flow, while his mild hypochondria is always amusingly present. His fear of being left alone is ever-present in his poise, never more so than his reaction when he believes he is will be left alone in the house to fend for himself – and the subsequent one when he realises that is not to be the case after all.

Rose Quentin brings us the ambitious Augusta Hawkins, relishing the verbal sparring and outright snobbery of her character, while Oscar Batterham’s Mr Elton becomes ever more desperate in her company. Both clearly revel in the inherent unpleasantness of their characters.

Emma’s ultimate love interest, George Knightley, is brought to us by Ed Sayer. Sayer shows us Knightley’s internal battles as he is simultaneously attracted to and horrified by Emma. Despite knowing his words will have little effect on her, we nevertheless see clearly Knightley’s efforts to help Emma see her errors, the immovable object to Emma’s unstoppable force. Their cat-and-mouse verbal jousting is a delight to watch.

The actor playing Harriet, Emma’s unwitting and sometimes unwilling protégée, was indisposed for the press performance, and so understudy Lukwesa Mwamba stepped up to the mark, fitting in seamlessly as she demonstrated Harriet’s thrall in Emma, her obvious feelings that something wasn’t quite right and ultimately, her triumph as she can follow her heart.

Emma is a delight from start to finish, light but never lightweight, one can’t help but feel uplifted as Emma’s machinations unwind to enable happy-ever-afters for (nearly) all.

Runs until 4 October 2025 and on tour