Amelia Pedlow and the cast of Emma (Don Ipock)
The works of Jane Austen are adapted and remounted so often that, while they are frequently enjoyable, they might not often feel fresh. Kate Hamill’s take on Emma, currently onstage at KC Rep, is evidence that it’s still possible for Austen’s work to feel delightfully, dazzlingly new.
Hammill’s Emma doesn’t diverge from Austen’s major plot points. The titular heroine (Amelia Pedlow) is a dedicated matchmaker, forging (and often forcing) romantic partnerships between her friends and neighbors while skirting any potential progressions in her own love life. Hamill’s version is bold and energetic, full of anachronistic needle drops ranging from Boyz II Men to Lizzo, matched with lively choreography. The fourth wall here is fluid, as Emma consistently lets her audience in on her machinations (and regularly blames us when they go awry).
Pedlow, who originated the role in the show’s 2022 debut at the Guthrie Theatre, is an utter delight. Austen famously referred to Emma as “a heroine whom no one but myself will much like.” And it’s true, Emma has many faults: She’s a terrible listener, she’s obsessed with status, she holds grudges like they’re a competitive sport. But she’s also brilliant, charming, and devoted to the people she loves. Her follies are endearing, and audiences are won over not in spite of her faults but because of them. That’s a tough enough tightrope to walk on the page, arguably even harder in a physical performance. Pedlow navigates the line beautifully.
In addition to Pedlow, a number of other creatives have held over from the original production, including director Meredith McDonough. Lex Liang’s set is fantastically whimsical: An enormous ornate picture frame stands askew, encompassing the stage. Miniature estates sit in rolling hills above the action, giving the feeling that this world exists in an opulent sort of model train set-up—fitting, given how much Emma’s maneuverings (and high society in general) feel like a strategic game.
Emma is a burst of pure joy. The ensemble cast is packed to the gills with skilled comedians. (In terms of laughs per minute of stage time, Vanessa Severo is a standout as the exuberant Miss Bates—constant comedic relief in a play that needs no relieving to begin with.) Hamill’s ability to put an original spin on a classic work is magnificent. The play feels both familiar and wholly original at the same time, an exceptional feat from a singular talent.
“Emma” runs at the Kansas City Repertory Theatre (Spencer Theatre, 4949 Cherry St) through May 25. For more information, visit kcrep.org.
