Review: EMMA at Loretto-Hilton Center

At a time when the weather is colder and winter is tuning up, The Repertory Theatre of St. Louis’ production of Emma keeps us warm. The latest show of the company's 59th season is a vibrant feast of laughter and love.

Spirited and spry, The Rep’s production, based on Jane Austen’s novel and reimagined by playwright Kate Hamill, gives the story some modern polish without compromising the source material. Directed by Tracy Brigden with a brightly colored set by Margery and Peter Spack, Emma is must-see theatrical fun.

Set in Regency England, this adaptation of Jane Austen’s 1815 novel centers on Emma Woodhouse, a headstrong young woman of wealth with a penchant for meddling in other people’s romantic lives. Although she has no concept of the emotion, she insists that her matchmaking abilities are first-rate.

The play begins with Emma celebrating another perceived triumph: the marriage of her former governess, Miss Taylor, to Mr. Weston. Feeling overconfident about her triumph, she takes on a new challenge.

Turning her attention to her friend Harriet Smith, she quickly gets to work. Dismissing her affection for the resident landscaper, Robert Martin, Emma instead opts to pair Harriet with Mr. Elton, the somewhat goofy local vicar.

Despite fervid opposition from her longtime friend George Knightley, Emma springs into action. However, her meddling and scheming efforts misfire badly when the vicar misunderstands her motives and pursues Emma instead of Harriet.

In the meantime, Harriet’s love life has its own upheavals as she develops feelings for a suitor whom Emma deems unsuitable. Her plans go further awry, however, when Frank Churchill and Jane Fairfax, a woman Emma sees as a serious rival, suddenly arrive.

Their appearance upsets Emma’s machinations as her plans go off the rails. Miscalculations and misunderstandings ensue, causing a series of japes that give Emma pause to examine her feelings as she examines her own.

Emma is forced to confront the truth: she has been shaping other people’s lives without truly listening to them. As her mistakes become clear, she grows more self-aware, recognizing her blindness, her privilege, and her misplaced confidence.

By the end, Emma learns to see others more compassionately—and to understand her own heart. Her long-standing bond with Knightley blossoms into love, and Harriet gains the independence to make her own choices. The play resolves with a sense of community, self-discovery, and the warm chaos of love.

While the plot of Emma remains true to Austen’s work, Hamill’s redux revs up the humor. With this production, the comedy is more lively and physical, while the satire more acutely underscores the theme of class division.

Another small change is the amplification of the supporting roles. This provides a buoyancy to the story that allows for a deeper and more contemporary exploration of feminism in the characters. As a result, Hamill’s new version is less stuffy than previous interpretations.

Leading a string ensemble is Adelin Phelps as Emma. Her debut with the company is feisty, funny, and ferocious. Mixing humor with hubris, she is a captivating lead. Breaking the fourth wall onstage, she gleefully fills the audience in on what's going down. Her commanding presence onstage perfectly blends confidence and vulnerability, making her relatable to audiences.

Serving as her perfect foil is Louis Reyes McWilliams as George Knightley. Mixing smug charm with an “I told you so” bravado, he is an ideal romantic lead. 

Charming and funny, Lize Lewy’s Rep debut marks the arrival of a talented actress. Her portrayal of Harriet is a melange of the dimwitted and the charming. Gifted with precise comedic timing, her scenes with Phelps are among the funniest of the production.

Nearly stealing the show are Jack Dryden and Nancy Bell as Mr. Elton and Miss Bates, respectively. Dryden’s over-the-top reverend turn gives audiences a hilarious persona whose shenanigans balance an affable clergyman with a self-absorbed buffoon that represents the outdated morays of the time.

Bell’s Miss Bates is also a delight. Serving as a fish out of water, her kind but nosy schoolmarm helps stir the pot with her gossipy-busybodiness. Acting as a babbling spinster, she  helps ease the plot’s emotional tension with levity.  

Also terrific is Ryan Omar Stack, who pulls double duty as Robert Martin and Frank Churchill. As the ladder, his swarmy haughtiness plays perfectly off of McWilliams’ Mr. Knightley.

The costumes, set design, and lighting give The Rep’s Emma bombasts of color that shine as brightly as its incredible cast. Fun from start to finish, the production is an adroit commentary on class status, the societal role of women, and the maddening absurdity of falling in love.

St. Louis Awards - Live Stats

Best Musical - Top 3

1. THE SECOND HURRICANE (Stray Dog Theatre)

9.3% of votes

2. THE PROM (Gateway Center for Performing Arts)

7.5% of votes

3. 9 TO 5 THE MUSICAL (Alton Little Theater)

7.4% of votes

Vote Now!