By Stephen Dubois

Curtain Up in Buffalo is always a special time. Premieres all over the city, restaurants filled to capacity, people and vendors in the streets, and that wonderful feeling of anticipation. That was certainly felt at the opening of Emma at the Irish Classical Theatre Company, where a sold-out crowd received a special welcome from the show’s director, Keelie Sheridan. This adaptation by Kate Hamill, based on the classic novel by Jane Austen, was a breath of fresh air.

The set had a summery feel, echoing English gardens and opulent interiors. An octagon with hanging vines and chandeliers hovered overhead, while a smaller raised octagon, with stairs on alternating sides, occupied the center. Because the production is performed in the round, scene changes were more implied than visually compelling, but the lighting effectively shifted the mood and tone of the set. The corners of the square stage each featured miniature houses, giving a sense of place to the characters who inhabit this town. Posh benches were moved throughout, while other scenes incorporated additional props, food-serving carts, and even a clowder of cats for one scene. The production also made effective use of the three entryways and aisles, carrying the action beyond the central playing space.

One note on the sound design: when string-quartet music is played at a very low volume, it can leave primarily the bass tones audible, and the rapid meter of some of the pieces occasionally created a distracting cadence that made it difficult to concentrate on the brisk dialogue. In those scenes, I think no music at all might have been more effective. The transitions, however, featured lovely musical choices that felt very much in keeping with the storytelling.

The cast was wonderful and, apart from Jeremy Kreuzer, the entire company was making its ICTC debut. In the title role, Penelope Sergi shines, and her catharsis from matchmaking busybody to a woman who realizes that she herself is worthy of love was paced and believable. Her interactions with Alejandro Gómez as George Knightley, often playing like those of feuding siblings, were endearing. You find yourself rooting for the two of them from the beginning.

Timiyah Love as Harriet Smith was a riot, and she too evolved throughout the play, ultimately becoming her own person and no longer needing Emma’s often-flawed guidance. Kreuzer was wonderful in two principal roles, Mr. Elton and Frank Churchill, creating distinctly different personalities for each. Julia Cianfrini, Peter Horn, Sara Kow-Falcone, and Diane DiBernardo follow suit, each taking on multiple roles. Many of them were side-splitting funny and some of the smallest roles made the biggest comedic impact. Through exaggerated histrionics, the actors make you forget that you are watching the same performers in these varied roles and instead focus entirely on the characters. The more over-the-top it becomes, the better it seems to work.  There is a particularly entertaining running question of who will end up playing the wheelchair-bound mother, whose mostly silent role is performed by whichever actor is not otherwise needed onstage.

Funnier still is the way the adaptation takes full advantage of breaking the fourth wall. Characters speak directly to the audience and even acknowledge that they are performing in the Irish Classical Theatre space. When something was clearly outside the source material, Emma even looked over her shoulder and says, “I bet you don’t remember THAT from the novel!” It makes the entire production feel participatory and expands the staging to include the audience.

And this very audience was enthusiastic throughout, laughing out loud and rising as one at the end for the curtain call.

Jane Austen has never been so much fun.

Emma will enjoy a short run through October 3 at the Irish Classical Theatre.  Tickets available at irishclassical.com