reviewed at the Arts Theatre, Cambridge on 4 July
Novels and plays both tell stories. However, they often do this in different ways. In his new Jane Austen adaption for The Production Exchange, Tim Luscombe chooses to make part of the action which make up the multi-layered plot of Emma happen before our eyes (and ears) rather than to be revealed as a sequence of dénouements.
So we follow Frank Churchill (George Kemp)’s secret engagement to Jane Fairfax (Georgie Oulton) with all his convolution of subterfuge – designed to ensure his legacy from his domineering aunt – before Austen allows us to understand it. It makes him much more of the villain of the piece and allows us to sympathise with Jane’s predicament from the beginning.
Both Oulton and Kemp make the most of this; Oulton’s portrait especially comes over as that of a young woman with a conscience torn between love and financial necessity rather than as a simple feminine victim. There’s another neat study of a certain kind of womanhood in Hannah Genesius’ Mrs Elton.
Miss Bates with her disconnected vocal ramblings is made sympathetic in Kate Copeland’s brown-sparrow characterisation. Polly Misch makes the rather dippy, easily influenced Harriet an excellent foil to Bethan Nash’s Emma, the heroine who loves matchmaking and being the queen bee of her small local society. One understands why Philip Edgerley’s Mr Knightley is so exasperated as well as charmed by her.
Selfishly hypochondriac Mr Woodhouse and self-important Mr Elton make an interesting double for Nicholas Tizzard. Colin Blumenau’s production uses two levels in Libby Watson’s setting. One is a tilted circle (a wedding-ring, perhaps?) and the other is the well inside it, furnished with a table, chairs and a keyboard. Mike Cassidy’s lighting is subtle and the choreography by Claire Cassidy thoroughly applause-worthy.
Four and a half- star rating.
Emma runs at the Arts Theatre, Cambridge until 8 July with matinées on 6 and 8 July.
(reviewed at the Arts Theatre, Cambridge on 28 June)
Craig Baxter’s play interweaves the plot of one of Trollope’s lesser-known novels Lady Anna with the sea journey from Liverpool to Australia which he and his wife undertook to visit their sheep-farming son. Colin Blunenau’s production has a cast of seven who play both the fictional and real-life characters; Libby Watson’s minimal setting cleverly gives us both worlds.
This production was initially staged for London’s Park Theatre; Cambridge Arts Theatre is not perhaps an ideal venue for it offering too much division between the audience and the players. But it is the sort of accessible intellectual joke which does draw the audience in, particularly in the second half. The performances are uniformly good.
Rhiannon Handy is Anna Lovel, who has inherited a fortune (though not necessarily a title) if the father who acknowledged her as his daughter was indeed married to her mother (Maggie O’Brien). The title (not not the money) has gone to young Frederick Lovel (Adam Scott-Rowley), whose aunt and clergyman uncle dither between thoroughly disliking – not to say distrusting Anna and her mother and egging him on to propose the marriage which will secure the money.
These two schemers are played by Julie Teal and Edward Halsted to fine effect. In opposition stand the skilled craftsmen Daniel Thwaite (Simon Robinson) and his father Thomas (Jonathan Keeble). Thwaite senior had helped the countess financially and morally when she is penniless; the two children have grown into teenage lovers – which is just the sort of liaison across the class divide which will imperil the status of all the Lovels.
On the voyage to Australia, Trollope (Keeble) and his dictatorial wife Rose (O’Brien) are concerned over the progress of his shipboard-scribed new novel Lady Anna. Rose argues with her maid Isabella ((Handy) while Trollope contends with sceptical and bored fellow male passengers. In the novel, a couple of lawyers (of distinctly Dickensian hue) become embroiled – a nice contrast in approach by Halsted and Keeble.
Frederick’s originally pragmatic, not to say mercenary, approach to the prospect of marriage with a hitherto unknown girl cousin mutates into something stronger – and transforms him in the process. Scott-Rowley convinces with his lightly-sketched yet in-depth portrait of a privileged young man’s growth into maturity. O’Brien’s granite-faced, iron-corroded souled countess is given a well nuanced counterpart in Handy’s Anna, a girl who has principles with the moral fibre to back them up.
It all makes one want to read the novel – and a biography of Trollope as well.
Lady Anna: All At Sea runs at the Arts Theatre, Cambridge until 2 July with matinées on 30 June and 2 July.