Kate Hamill’s adaptation of the classic imparts zany contemporary humor to Jane Austen’s dignified world

Playwright Kate Hamill’s adaptation of Emma transforms the classic story into an irreverent, lively comedy steeped in contemporary perspectives.

Emma, produced by the Denver Center Theatre Company, doesn’t diverge significantly from the novel’s Regency Era plot. But it does impart a zany, present-day humor to Jane Austen’s dignified world. Director Meredith McDonough brings everything to life, incorporating something for everyone.

The play follows the escapades of Austen’s scheming matchmaker, Emma Woodhouse. Emma (Amelia Pedlow) is a slightly flawed, yet relatable heroine who is well educated, clever and wealthy. Privileged as she may be, she exists in a time where women have very few rights. With a restless need to feel useful, have purpose and be satisfied, Emma embarks on a new matchmaking quest for her friend Harriet Smith (Samantha Steinmetz). Emma is also dealing with the arrival of “bad boy” Frank Churchill (Marco Alberto Robinson), a bachelor with new money, and the re-emergence of her old rival, Jane Fairfax (Annie Barbour).

Emma advises Harriet to reject a perfectly good marriage proposal in favor of other eligible bachelors. Her best-laid plans go awry with unpredictable displays of affection, unexpected rivals and romantic revelations with her longtime friend, George Knightley — played by a  delightfully grounded Carman Lacivita.

As the story unfolds, Pedlow’s brilliant fourth-wall-breaking Emma is a whirlwind of wit and charm. She’s the protagonist and narrator of her own story, commanding the audience to root for her from the very first uttered word.

Steinmetz delivers an initially shy and awkward Harriet Smith as she navigates Emma’s matchmaking. Closer to the end, Harriet breaks free of the submissive young woman she was. With a hair flip, she goes confidently after what she wants like any modern-day twenty-something.

Last seen showing her comic chops on the DCPA stage in 2023’s The 39 Steps, Pedlow drives many hilarious scenes between Emma and Harriet. The scene where Emma opens her closet during Madonna’s “Material Girl,” is priceless, as is when Emma and Harriet erupt into a rap.

Barbour is an icy Jane Fairfax who’s fully aware that her situation differs from that of Emma. Barbour adeptly conveys to the audience that if Jane wants to either marry well or have a profession, she must become as accomplished as possible.

Set design for ‘Emma’ is by Lex Liang. | Photo: Jamie Kraus Photography

Gender imbalance

Joey Parsons is solid as Emma’s wise former governess, Mrs. Weston. Weston delivers a Barbie-esque monologue where she pointedly explains the frustration of a woman and a man raised in similar circumstances. They may have the same education, but end up with completely different lives. The man is uplifted and encouraged, and the woman is bound to a monotonous life with no outlet for her ambition and brilliance. She is not encouraged to become capable of “more.”

Character banter is totally dependent on perfect timing in Emma, and the entire supporting cast delivers. They are all well-suited and faithful to their roles with countless moments of pure delight, such as the strawberry-picking party, the hilarious antics of Mr. and Mrs. Elton (Louis Sallan and Steph Holmbo) and Mr. Woodhouse’s (Brent Hinkley) never-ending bowl of gruel. Since Emma is set in England, all characters deliver wonderful British accents, thanks in part to the voice and dialect direction from Jill Waimsley Zager.

Carman Lacivita and Amelia Pedlow in ‘Emma’ | Photo: Jamie Kraus Photography

Historical harmonizes with modern

Beginning with the opening scene’s wedding party dancing to Boyz II Men’s “I’ll Make Love to You,” Palmer Hefferan’s sound design sets the tone for a wild ride between the 19th century and a more modern take. Scenes are peppered with modern references from hand sanitizer, Janet Jackson and popcorn machines to hairspray, leather jackets and my favorite — Mrs. Weston’s Crocs.

The choreography by Emily Michaels King is funky and modern, and Lex Liang’s costume and set design are a feast for your eyes being fabulously contemporary and historically accurate at the same time. Liang’s set has both a serene English countryside and an English manor with many moving parts that make the scenes absolutely glide.

This classic tale, first published over 200 years ago, feels so fresh, relevant and modern. With a story so familiar, we know how her matchmaking efforts turn out, but as she asks Mr. Knightley many times, “Isn’t it fun to watch me try?”

It was most definitely a pleasure to watch her try.