A heartfelt musical story of romance during Regency England is in full display at the Chance Theater in Anaheim.
In this production directed by Casey Long, Emma Woodhouse (Mandy Foster) embodies the woman who enjoys being the matchmaker of other people while neglecting her own romantic needs. In a period known as Regency England, the role of women was limited to that of an obedient housewife prepared to satisfy her husband’s needs. The educational and professional opportunities for women were few and with that, their economical prospects were dictated by the men around them. Screenwriter Jane Austen was one of the very few women who excelled in writing, a field dominated by men at the time.
Drawing from her own experiences, Austen created characters that exhibited the virtues and defects of the people around her. A keen observer of people’s behaviours, Austen’s Emma is a case study of England’s gentry and their attitudes towards the lower classes.
As much as Emma is a musical, the play infers the elitist vision of the landowners during the Regency period. The most obvious contrast of classes is the relationship between Emma and Harriet Smith (Sadie Alexander). According to Emma, Harriet is a sweet but unsophisticated girl that needs an urgent makeover. The relationship is imbalanced, as Emma is the dominant figure. Emma is tutoring Harriet to become an attractive match to a fine gentleman. The tutelage, however, turns into a contentious issue between Emma and her friend George Knightley (Jeff Lowe), another member of the English gentry. As Harriet falls in love with Robert Martin (Luc Clopton), she is encouraged by Emma to reject his marriage proposal for considering him below Harriet’s level, proving that Emma’s influence on Harriet, although good-intentioned, gets in the way of Harriet and Martin’s feelings and happiness. This leads to an argument between Emma and George, risking the possibility of a romantic relationship between them.
Casey Long presents a lively and engaging production that explores the different layers inferred in the text and subtext of Austen’s superlative script. Something that Long translates effectively is the palpitating romantic aura of the story through the interactions among the characters. Although Emma exhibits the negative characteristics of a spoiled and flawed woman of the upper class, she experiences a transformation that makes her mature into a more tolerable person, accepting the reality and variety of the people surrounding her privileged environment.
The play is, after all, a touching story to warm the audience’s hearts in a musical setting. Something worth mentioning is that Long’s production relies mainly on the direction, music, and exceptional performance of the cast. The set design is minimalist, making the actor’s performances the center of attention. The music, directed by Lex Leigh, is an exceptional element that brings out the romance and playfulness of Austen’s witty writing.
The synergy created by the voices of Foster, Lowe, and Alexander intensify the emotional rollercoaster of their respective characters, adding that special touch to this production. “This is How Love Feels” interpreted by Foster and “Emma” interpreted by baritone Lowe exemplify the awakening of the main character’s feelings for each other; the essence of their existence.
Foster is the main engine of this musical, and she delivers a rich character that navigates the strict expectations of a patriarchal society. But she also exhibits splashes of rebellion and freedom, aspirational states of countless people living in England at the time, especially women. Likewise, Alexander does a fantastic job as Harriet, a character that due to her level in classist England, has limited exposure to the experience and sophistication necessary to be more independent, thus making her more susceptible to Emma’s manipulation.
Emma is an example of the relevant impact of Jane Austen as a writer and as an iconic agent of change. It would be fair to say that Austen was influenced by the seismic changes taking place around the world during her lifetime, such as the French Revolution and the American Revolution, events that gave birth to a new concept of freedom and justice. The subtlety of Austen’s radical ideas is present in her writings, but one must be able to read between lines to really find and enjoy the call for action. This particular staging of Jane Austen’s Emma, The Musical is a celebration of the extraordinary life and the novelty of ideas of a female writer who exalted the resilience and ingenuity of Regency women.
Jane Austen’s Emma, The Musical
Chance Theater @ Bette Aitken theater arts Center
5522 E. La Palma Ave.
Anaheim, CA 92807
Opening Night: Saturday, December 7 at 8 p.m.
Performances: November 29 – December 22, 2024
Wednesdays at 7:45 p.m., Thursdays at 7:45 p.m. Fridays at 8 p.m., Saturdays at 3 p.m. and 8 p.m. & Sundays at 3 p.m.
Tickets: chancetheater.com
Book, Lyrics, and Music by Paul Gordon. Based on the novel by Jane Austen. Directed by Casey Long. Music Direction by Lex Leigh. Show Producers: In Memory of Mary Kay Fyda-Mar (Executive Producer). Samuel & Tammy Tang (Associate Producer). Bette & Wylie Aitken (Executive Season Producer). The Family of Mary Kay Fyda-Mar (Associate Season Producer).
Cast: Mandy Foster as Emma Woodhouse, Jeff Lowe as George Knightley, Sadie Alexander as Harriet Smith, Glenn Koppel as Mr. Woodhouse, Deva Marie Gregory as Miss Bates, Davide Costa as Mr. Elton, Cynthia Espinoza as Mrs. Elton, Blake Rhiner as Frank Churchill, Sierra Jimenez as Jane Fairfax, Luc Clopton as Robert Martin, Jonathon Lamer as Mr. Weston, and Elisabeth Hunter as Mrs. Weston.
Creative team: Masako Tobaru and James Markoski as Production Designers, Bruce Goodrich as Costume Designer, with Gwen Sloan as Associate Costume Designer, Jordan Jones as Stage Manager, Laurie Smits Staude as Dramaturg, Wyn Moreno as Dialect Coach, James Markoski as Audio Engineer, and Carina Leland as Assistant Stage Manager.
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