Emma

Stage adaptations of classic novels can labour under certain disadvantages. The need to convey a lengthy plot clearly in an engaging and entertaining manner can prevent a fuller exploration of characters. Cork Opera House and Storytellers' joint production of Emma, running at the Olympia, is a highly entertaining telling of Jane Austen's story but one which misses some of the nuances between its characters.

The play opens with a marriage orchestrated by Emma Woodhouse, who finds a new challenge in Harriet Smith. Emma believes herself to be a consummate matchmaker but misreads the lovers she connives to pair together. Harriet's declaration of love for Mr Knightley eventually wrests hidden desires in our heroine.

Performed at a galloping pace by a cast of eight, the play switches smoothly between character exchanges and narrative passages. The excellently choreographed scene changes make us think there were none.

Robin Midgley's direction is extremely inventive, using the cast to their limit as a busy chorus, creating beautiful tableaus, a travelling carriage and one of the best beds this reviewer has seen on stage. Some tricks, though, such as the portrayal of Mrs Bates, were clever and funny when first introduced but became a little laboured on further use.

The ensemble cast is tight and focused. However, the rhythm of the performance suits some characters more than others, like Patrick Lennox's self-conscious and later pompous Mr Elton and Sarah Jane Drummey's effervescent Harriet. Too much plot exposition in Mary Elizabeth Burke-Kennedy's adaptation prevents a stronger development of characters, especially Emma's relationship with Knightley. The melodramatic finale may be a result of this failing. Despite these cavils, it was a thoroughly enjoyable evening.

Until Saturday, then on tour: Cork Opera House, September 28th to October 5th; Hawk's Well, Sligo, October 4th and 5th; Backstage Theatre, Longford, October 6th to 8th, and Belltable, Limerick, October 11th to 14th