Theatre review: Emma gets a modern makeover at the  Abbey 

Jane Austen’s Emma is a literary tightrope act, its comedy and satire sustained by the author’s genius for sly ambiguity. It’s this that allows the reader to inhabit Emma’s fantasy world as matchmaker, while also relishing her inept mistakes, her comically snobbish failures to understand both her desires, and those of others.

 The multiple screen adaptations of the work, the TV series, the costume dramas, and even the 1990s high-school movie Clueless, cannot, by definition, ever convey this textual treat, which always leaves them somehow lacking by comparison. But what about a stage play?

Well, Kate Hamill has given it a fair whack, and Austen fans should find plenty to chew on as her version, first staged in 2022, comes to the Abbey Theatre.

There’s a central question here: How do you stage a drama that’s led by a know-all, but one we all know better than? Hamill’s answer is to do it as archly, and as knowingly as possible. She indulges our privilege vis-a-vis Emma right from the start. 

Toni O’Rourke, suitably sassy and confident in the lead role, turns to the audience regularly throughout, apologising for any dull bits of exposition, or challenging us when we’ve all seen things coming. It’s funny, and all stems from the opening moments when she asks us, “Aren’t I clever?”

 Well, up to a point, dear Emma… Hamill’s version is largely faithful to the original plot, but her style and that of director Claire O’Reilly is a little bit Bridgerton, or The Favourite, a little bit Fleabag. In other words, it’s irreverent and modish, but also rather familiar to the modern audience, a checklist that includes a thumping electro soundtrack, zany comedy, strobe lights, and a sprinkling of sex. 

Catherine Fay’s delightful costumes are a bright mishmash of styles and eras, while Molly O'Cathain’s set of blue and white patterns makes it feel like the whole thing is playing out inside a giant Wedgewood bowl.

In a strong cast, special mention goes to Clare Barrett who is a hoot throughout in a variety of roles, ultimately lifting the roof with a rendition of 'Dancing on My Own'. Hannah Mamalis delivers a lively performance as a goofy Harriet Smith, Emma’s first victim, but the portrayal is an odd choice. She’s not innocent, so much as a dimwit, as if a dork has been parachuted in from a teen comedy.

Patrick Martins’ Mr Knightley is suitably sober and sensible, in contrast to the prevailing zaniness. But he’s maybe too aloof, and we remain invested in Emma’s story because of O’Rourke’s portrayal, rather than because of the marriage plot’s momentum. 

This is a production of and for our time, with a couple of twists ensuring contemporary orthodoxies are very much adhered to. Still, the Abbey will likely have a festive hit on their hands, in a show perfectly pitched for panto season.

• Until January 24