Emma at Ickworth House
Emma Ickworth House, March 6th
Emma Woodhouse's handsome, clever and rich image has a twenty-first century makeover here.
She learns, painfully, that if all your efforts to fix unsuitable romances for your friends misfire, it's time for a change.
Holly Beth Morgan's Emma did rescue the heroine's dignity in this delightful adaptation of Jane Austen's classic story of growing up in the stuffy confines of early nineteenth century England.
Her unwavering assurance and humour made Emma's meddling plans less bumptious and more forgivable.
Painting was one of the accomplishments expected of a young woman of marriageable age.
Emma's attempts to portray Harriet became the running motif of the play. Characters were literally framed as they were introduced, and portraits were carted about to stand-in for minor characters.
Artistic skill does not always flatter the sitter, and characters learn how others may see them. Those expecting classic Jane Austen may be startled by Emma's initial pose as a Paris Hilton wannabe, whilst wide-boys William and Henry leap in to offer a breathless sound-bite on romanticism and contemporary landscape painting.
Emma's self-image, and the self- images of all the rest, is what it's all about. Still puzzled? Read on.
The dialogue followed the text remarkably faithfully. William of the two wide-boys, played by Dan McGarry, becomes, in turn, Mr Woodhouse, Mr Elton and the cavalier Frank Churchill.
His portrayal of Mr Elton's creepy mannerisms was excellent – Emma could not see, even though the rest of us could, that Mr Elton knew the value of marrying well, not necessarily for love.
Henry, played by James Merry, transformed variously into Mr Knightley, Mr Weston and, in no small way, the knitting widow Mrs Bates. Mr Knightley's gradual realisation that Emma was the one for him was sensitively developed.
Amelia Fewtrill took on Harriet, Jane Fairfax and Josephine. Her Harriet's star qualities illuminated the production, and showed just how silly Emma's schemes were.
Giddy with the attentions of her new friend, she also has some painful learning to come. Elena Rossi moved between five roles, and her snobby Mrs Elton was particularly impressive. Mr Elton did choose well, in the end.
Heartbreak Productions' five actors manage the entire cast, hats and shawls and the framed portraits supporting this clever technique. All the changes were visible, and extra effects were ingenious.
Mr Elton's preposterous proposal to Emma was brilliantly done during an imaginary carriage ride where both swayed from side to side with the movement, and the coconut shell clip-clop of the horses' feet was perfectly co-coordinated.
Well-researched imitations of famous paintings were used to suggest the values of the time. Painted landscapes reminded us that marriage was about property settlements as much as family and inheritance.
Peter Mimmack's zesty adaptation certainly paints a vivacious image. The old squash court at Ickworth Hosue, where the play was performed, shows that even old property, as well as literature can benefit from a dramatic makeover.
Anyone seeing this exciting production will want to visit Jane Austen again - and soon.
Mary Dunk, 2009.
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Weather for Sudbury
Wednesday 08 February 2012
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