Review: EMMA, Theatre Royal Bath

It is a truth universally acknowledged, that a theatre in want of sufficient funds, must be in possession of an adaptation.

So, it's perfectly fitting that Theatre Royal Bath Productions' lively, new adaptation from Jane Austen's book published in 1815 is launched in the historic Theatre Royal Bath to celebrate the 250th anniversary of the famous author's birth.

Rising star India Shaw-Smith, soon to grace our TV screens in Spartacus: House of Ashur, is confident on stage as the wealthy but well-meaning Emma Woodhouse, getting the mix of haughtiness and benevolence just right.

Emma isn't Austen's best-loved character, as she has many flaws, the main one meddling in people's relationships and lives. Austen admits that "I am going to take a heroine whom no one but myself will much like".

Shaw-Smith nudges us into liking Emma, despite her taking poor Harriet Smith under her wing and trying to marry her off to someone from a higher class that she doesn't love. Shaw-Smith helps us understand that Emma means well. All of this feels very timely, as modern audiences like to bond with a flawed character.

Plaudits also go to superb scene-stealer William Chubb (the headmaster in The History Boys) playing Emma's father Mr Woodhouse. With great comic timing, he gets the audience on side immediately and lends gravitas to the production.

Another pleasant surprise is Maiya Louise Thapar's portrayal of a confused Harriet Smith who wants to follow her heart, but feels indebted to Emma's supposed good intentions.  This is Thapar's first professional role after graduating from the Bristol Old Vic Theatre School and I hope we will see more of this promising actress in the near future.

Ed Sayer's a dashing George Knightley, sparring brilliantly with a frustrating but loveable Emma. His tenderness towards Smith, when no one will dance with her at the ball, is moving, juxtaposed with his anger at Emma in the infamous Box Hill picnic scene.

Jade Kennedy gives a strong interpretation of Jane Fairfax and I love Daniel Rainford as gentle farmer Robert Martin. I think Peter Losasso's Frank Churchill could be a bit more slippery and Oscar Batterham could offer an even more ludicrous Philip Elton. However, Elton's new odious wife, Augusta Hawkins, played by excellent Rose Quentin almost makes up for Elton.

Overall, Ryan Craig's adaptation is fine, with most of Austen's wry comedy intact. However, the omission of key character Miss Bates is a bit puzzling. Her character's subsumed with Smith's, which means one less person to introduce when you have limited time, I guess, but it might feel a bit odd for serious Austen-ites.

Another blip is the flat lighting that is not particularly evocative of the period. Stephen Unwin's direction's reliable, with quick scene changes by efficient footmen and musical interludes.

Overall, this is a solid rendition of Austen's classic, which tours after its stint in Bath. The performance is enhanced on opening night by a number of Jane Austen Festival attendees in full kit (think bonnets, bodices and boots) in the audience. They laugh uproariously at references to Bath and applaud heartily throughout.

On the one hand I'm pleased audiences up and down the country will get a chance to see this touring reworking of Emma, but the downside to an adaptation is the crushing effect it has on new writers wanting to have their new plays staged.

An adaptation's regarded a safer bet for cash-strapped theatres these days. Audiences will already be familiar with the work from the original book or movie, pretty much guaranteeing brisk ticket sales.

For instance, a recent hit adaptation filling seats at the Gillian Lynne Theatre is award-winning My Neighbour Totoro, based on Studio Ghibli's animated film. And Patrick Marber's hilarious The Producers (based on Mel Brooks' film) at the Garrick Theatre's getting rave reviews. Paddington the Musical, The Hunger Games on Stage and The Line of Beauty are all new adaptations to soon kick off in the West End.

There's certainly room for new-fangled variations of older works. Nevertheless, I hope support can also be offered to those creating new plays in need of a home, so we have fresh stories for the future.

Emma runs at Theatre Royal Bath until September 20 and then tours.