Review: EMMA at Irish Classical Theatre

A gleeful production of a Jane Austen classic has hit the stage with such comedic joy that the cast can barely contain it’s boundless talent in the Irish Classical Theatre’s ebullient production of EMMA that opened their 2026-2027 season. Artistic Director Keelie Sheridan also stage directs this frothy confection that is sure to induce endless mirth and giggles.

This  new stage adaptation by Kate Hamill has done  mild updating that allows some modern day theatrical asides to the audience as well as some contemporary commentary on the story, but the classic Regency telling  remains mostly  intact. Emma is a confident forthright young matchmaker whose self proclaimed expertise in all fields could rival Dolly Levi in THE MATCHMAKER, yet Emma is mere 20-something years old. Her attempts at arranging love affairs and marriages for her tutor and her young friend all are based on her own inherent wisdom. But her personal happiness and love suffers along the way.  This two act comedy is full of colorful characters that rival others beloved gems like THE IMPORTANCE OF BEING EARNEST or THE SCHOOL FOR SCANDAL.

Penelope Sergi seems to have born to play Emma. Her Emma is oh so clever and prances with a self assured manner, carrying Cheshire cat grins and over the top  line deliveries.  Sergi is also striking in her poise and grace but knows how to command attention as well as ham it up. You find yourself rooting for Emma to win at all of her endeavors, and Sergi makes it easy to love Emma, even if her behavior is not always exemplary

Timiyah Love is quite hysterical as the awkward young woman Harriet Smith,  who is naive to the ways of the world.  Harriet yearns for a man, and Emma makes it her duty to find the proper suitor, often to the chagrin of Harriet herself!  Love brings  some great physical comedic touches to the role and her many scenes with allow Sergi allow  the two to form a strong bond. 

Alejandro Gomez is George Knightley, the man who is a lifelong friend of Emma, despite her minimizing his friendship at every turn. Gomez is blustery and constantly battling with Emma, while yearning to win her affections. Gomez embodies the tortured soul and his  struggles emerge perfectly, and often comically. 

Jeremy Kreuzer is fabulous in each and every one of the roles he plays.  His nerdy pastor Mr. Elton who declaims poetry but secretly lusts for a woman is a riot of contradictions  His  rich playboy  Frank Churchill who courts three women at once is suave , and his dullard landscaper Robert Martin is just a simpleton. Kreuzer's English accent and diction were spot on and his quick changes were deftly handles like a pro. 

Diane DiBernardo  as  the elderly schoolmarm Miss Bates  near steals the show as she waxes poetically and emphatically on, and on, and on about the greatness of a particular Miss Jane Fairfax. The scene was a tour de force in farcical vocal delivery.

Julia Cianfrini as  the aforementioned Jane is cold and bitter, holding secrets that perplex Emma. The two young women are bitter rivals and she and Sergi had fine chemistry together.  When Cianfriani steps into the role of the pastor’s new wife, her over the top laugh and kissing scenes are pure shtick, in the best sense.

Peter Horn got some great laughs as the elderly father, Mr. Woodhouse, whose repeated joke of pushing watery lukewarm gruel down everyone’s throat as a panacea for everything that ailed them. He also plays Frank Churchill’s father and one other surprise role.  Sara Kow-Falcone   appears to be the only level headed character among the entire lot as Mrs. Weston. Her character's  portrayal was based in reality in an attempt to anchor Emma to the real world. Kow-Falcone also gets some audience chortles in for comedic bits  as wheelchair bound Mrs. Bates

Sheridan let her imagination run loose  in directing her fine cast with broad comedic touches, ridiculous posturing, hilarious accents, cackling laughs, and sight gags that only add to the overall rhythm of the piece. Rarely has the infectious energy of an ensemble been so palpable to the audience. 

The picture perfect set by Collin Ranney was anchored center stage by an elevated circular platform  that was wistfully painted in pastels, draped in flowers, flanked by  miniature dollhouses and draped with chandeliers. Picture a spectacular top tier of a wedding cake. The first scene and  then final scenes actually are played atop this platform with a bride and groom centered right there!  Costumes, also by Ranney, were  beautifully integrated  into the overall production. Dresses were lovely in their gossamer  summer lightness, with  Empire waistlines and embroidered appliqué for the ladies. The men were smartly dressed in finely tailored colorful suits of the period. 

EMMA plays at Irish Classical Theatre through October 4, 2026. Contact irishclassical. com for more information.