Emma by Jane Austen
Cleveland Play House
February 26 - March 21, 2010
Reviewed by Kelly Ferjutz
In these rough-and-tumble times we're trying to live through, when civility seems to be at an all-time low, it's only natural that we would turn to that world inhabited by the all-time best arbiter of civility and good manners-Jane Austen. It is, after all, what she knew best, and her tales are solidly written, with great characterization, excellent plot-all tempered with wit and a gentle tolerance for human frailty. They also aim a huge magnifying glass on human nature, social standing and morality, a reflection of which we see in the mirror every day. The basic world may have changed drastically since then, but most people still want the same things they wanted then: to live comfortably and love well.
Ms. Austen wrote several books, but not all of them were published: Sense and Sensibility (1811), Pride and Prejudice (1813), Mansfield Park (1814) and Emma (1816), were published before her death at the age of 41 in 1817. Two others, Northanger Abbey and Persuasion were published after her death, while another, Sanditon, remained incomplete. 
Sarah Nealis as Emma Woodhouse in Emma
Two years ago, the Play House imported a marvelous new adaptation of Pride and Prejudice from Chicago. This time, they imported the director, Peter Amster, while fashioning a home-grown Emma. Artistic Director Michael Bloom created the adaptation which is nothing short of fabulous, in my opinion. He has kept the spirit and emotion of the original, including the language and mannerisms.
The set designed by Robert Mark Morgan is remarkable, and worked as it was intended to, in the Drury Theatre. Consisting of moveable panels, plus a few platforms with or without furniture attached, a change of scenery was easily accomplished. Most of the action takes place in the home of Mr. Woodhouse, Emma's widowed father, although at times, there are walks in the countryside or a picnic on the bare stage. 
Emma (Sarah Nealis) enjoys doting on her father (Patrick McClear) in Emma, on stage at The Cleveland Play House
The atmospheric lighting by Jeff Davis is awesome throughout, as is the sound design of James C. Swonger, once the action began. (Pre-curtain was a tad loud, but once begun, it settled down nicely. Joe Cerqua is credited as composer, and deserves commendation, because it certainly sounded authentic. Stage manager Amanda M. Harland succeeded in keeping all the moving parts (both human and machine) moving smoothly and on time.
I could write thousands of words about the costumes but will settle for one: SCRUMPTIOUS!!! (It so happens that I've done major research on the Regency period, and these costumes would surely not have disgraced the wearer had he or she suddenly been transported back to that era.) The fabrics, the colors, the attention to detail deserve major props to the designer, Kristine Kearney and to the resident costume shop at the Play House, all under the watchful eye of costume shop manager Jeffrey Van Curtis. Bravos all around. A costume drama cannot hope to succeed without proper costuming, and this one appears perfect.
As the meddlesome Miss Woodhouse (Emma, in fact) Sarah Nealis is wonderful. At times an air-head, at others a truly concerned neighborhood overseer, she never sees herself as others do. Her greatest joy in life is match-making, and having put Miss Taylor (Leigh Williams) in the way of Mr. Weston (Dana Hart) which ended in marriage, Emma turns her attention to another young friend, Harriet Smith (Carolyn Faye Kramer.) 
Harriet (Carolyn Faye Kramer) and Emma (Sarah Nealis)
are the best of friends in Emma
Miss Smith is not so well-advantaged as Emma (her parentage is unknown) and when a local farmer Robert Martin (A. J. Cedeño) expresses interest in the girl, Emma is convinced there is a better match lurking nearby.
Robert Martin (center left, A.J. Cedeno) is congratulated by Emma (Sarah Nealis, center right) and Mr. Knightley (left, Mark L. Montgomery) on his engagement to Harriet (right, Carolyn Faye Kramer)
It is the local vicar, Mr. Elton (Tom White) whom Emma feels would better suit the shy young miss. But Mr. Elton promptly proposes to Emma! She soon disabuses him of that notion, and in his hurt, he sets out for parts distant. 
Mr. Elton (Tom White, right) and his new wife (Lindsay Iuen) pay a visit to the Woodhouse home in Emma
The older Mr. Knightley (dishy Mark L. Montgomery) has been a part of Emma's entire life-she tends to see him as a piece of furniture, perhaps, not realizing the treasure he really is. There is much of a brother/sister relationship for a while, but when Mr. Elton returns with a wife-the tactless and almost vulgar-but wealthy and gorgeous-Lindsay Iuen (who goes right to the top without falling over it!) Mr. Knightley begins to Emma with different eyes. 
Mr. Knightley (Mark L. Montgomery) and Emma (Sarah Nealis) confess their love for each other in Emma
But wait! There are still more people in this small enclave of country society: the older and very awkward Miss Bates (Suzanne Lang), her reserved niece Jane Fairfax (Sarah Nedwek) and Mrs. Weston's handsome step-son Frank Churchill (Zac Hoogendyk). It's not by mistake or omission that we don't know the first names of most of these people: it was an age when long-married couples referred to their mate as 'Mr.' or 'Mrs.' Dear Emma doesn't realize that her own love is waiting for her, very close at hand, and it takes a scolding by Mr. Knightley to make her realize what she has done to Miss Bates and Miss Smith, for starters. But in the process, his eyes are also opened, and he discovers that, in spite of the sixteen-year age difference, he is madly in love with Emma. In a very short time, she comes to the same realization in spite of her earlier disclaimer: I will never marry, etc., etc. etc. And as the play opens with the wedding of the Westons, it closes with that of the Knightleys. 
Emma (Sarah Nealis) and Mr. Knightley (Mark L. Montgomery)
at the altar
In between, however, there are delights in abundance; the casting is spot on, and the acting (as well as dialogue coached by Don Wadsworth) totally believable. Some of the younger members of the cast are in this year's graduating class of the three-year Case Western Reserve University/Play House graduate acting program. Four others-as elegantly costumed as those with speaking parts-Michael Flood, Carli Taylor Miluk, Amy Pawlukiewizc and Tom Picasso are the ensemble: servants and not-quite-stage-hands. Anyone can enjoy this play, although it's likely that thirty-somethings and up might appreciate it more than youngsters, but maybe not. The play runs through March 21, with a pre-play discussion before each performance. I give the production my highest recommendation. There are discounts for groups of ten or more, seniors, students, and military. For specifics, call (216) 795-7000, ext. 4, or visit www.clevelandplayhouse.com Photos by Roger Mastroianni
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