Forward, Onward, Upward! (Kentucky Shakespeare Festival)

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Emma

Based on the novel by Jane Austen

Written by Kate Hamill

Directed by Amy Attaway

Review By Lan Nguyen-Colgate

This winter, Kentucky Shakespeare presents a new production based on Jane Austen’s novel Emma. Director Amy Attaway has once again chosen an adaptation written by playwright Kate Hamill. Emma Woodhouse (the titular heroine) is “handsome, clever, and rich.” Having successfully made a marital match for her friend and former governess, Miss Taylor (now Mrs. Weston), Emma makes it her mission to make another for her new friend, Harriet Smith. Romantic misunderstandings occur and personal friendships are altered. Emma learns she is not an expert at reading people and undergoes personal growth before reaching her “happy ending.”

The set design by Eric Allgeier is unexpectedly minimalist for a period production. There are white window panes and columns to frame the stage. Digital projections (Philip Allgeier’s design) resembling oil paintings create specific settings or moods. No furniture is present on stage; instead, white blocks serve as tables, chairs, and settees. Costume designer, Donna Lawrence-Downs, does not disappoint with her sari print regency dresses and expertly tailored and embroidered men’s coats. The floral appliqué dress worn by Emma is extremely stunning.

The script notably abridges Austen’s lengthy novel, and compresses it into a two hour and fifteen minute play. Many characters are cut or combined, with actors playing multiple roles. The characters are greatly exaggerated from the novel and frequently break the fourth wall. Like Hamill’s other plays, Emma is significantly modern in its tone and seeks to amplify Austen’s thoughts on the role and rights of women in society.

Brittany “BeeBee” Patillo is both literally and figuratively in the spotlight as Emma. She exudes brightness, performing with zeal. No one is spared from the intensity of her words and opinions. Matching her energy is Sasha Cifuentes as Harriet Smith. She is delightfully silly, following Emma around the stage with adoring eyes and high pitched squeals. As Mr. Elton, Zachary Burrell is full of ridiculousness as he prances about terribly reciting poetry. The first act feels overwhelming due the actors’ heightened physicality and volume, not to mention the breakneck speed at which the plot moves. Regardless, the many comedic moments create bursts of genuine laughter.

The second act brings more balance. The narrative pacing slows, and the characters are more even keeled. The play’s tone dramatically shifts. For the first time, Emma experiences negative consequences for her words and actions. Upon reflecting on herself and acknowledging her flaws, she asks pointed questions: Why are women given minds only to waste them wiling time away in “little unhappy nothings”? Why are they educated if the most they can aspire to is “making marriages”? BeeBee’s Emma becomes a tragic figure, especially after a ruthless admonishment from Mr. George Knightley (Crystian Wiltshire) who shifts from playful to seriously overbearing. Mollie Murk brings significant depth to the character of Mrs. Weston and draws attention to the issues of social privilege.

This play challenges traditional narrative structures, exploring the characters in new ways. Its ending mostly mirrors the original novel. However, Emma is given opportunities to take action to create meaningful change for herself and “future clever girls.” The message about equal rights and opportunities for women is shouted out loud. The show blends “what is admirable and ridiculous” together. Kentucky Shakespeare’s production of Emma is anything but “badly done.”

Emma

Kentucky Shakespeare Festival

January 9-18 2026

Pamela Brown Auditorium at Actors Theatre of Louisville

316 W Main St

Louisville KY 40202

kyshakespeare.com