Reviews: Jane Austen’s Emma at Bishop Ireton High School
Written by Michael Yasser of West Springfield High School
Elegance holds sway on the surface, but chaos has a way of slipping in through the smallest cracks. A single choice can blossom into a minor catastrophe like wildflowers, and the politest conversation is never safe from unexpected complications. Drama unfolds as if by design, every misstep carrying a mischievous inevitability. This is the world of Jane Austen's Emma, where charm and disorder waltz hand in hand.
Emma, the beloved novel by English author Jane Austen, was first published in 1815 as her final book released during her lifetime. The story follows self-proclaimed matchmaker, Emma Woodhouse, whose confidence in her matchmaking skills leads one perfectly planned match spectacularly astray. As Emma navigates the tangled romantic affairs of those around her, misunderstandings multiply, unexpected proposals arise, and she discovers that even the most confident matchmaker may find love herself. Bishop Ireton High School's world-premiere adaptation breathes fresh energy into Austen's timeless tale, bringing its wit, charm, and drama to life.
The titular character was brought vividly to life by Bethany Tilahun, who imbued Emma with a presence that was both commanding and relatable. From the first scene to the last, Tilahun maintained a consistent and polished accent that anchored the character in the Regency Era. Beyond the technical precision, Tilahun's performance shown through emotional authenticity, whether navigating Emma's playful confidence, occasional misjudgements, or moments of vulnerability. Every circumstance was met with nuanced expression, forging a natural and engaging protagonist. Through this careful balance of poise, humor, and heartfelt emotion, Tilahun transformed Emma from a literary figure into a fully realized, living character on stage. Building on Tilahun's nuance of Emma, Julien Goulet embodied Mr. Knightly combining precision and charm. Goulet's consistent accent anchored the role, while carefully timed comedic touches brought warmth and subtle humor to the stage. Goulet's controlled pre
sence and poised delivery created a clear contrast to the energy of Emma.
Mr. Woodhouse, Emma's father, was perfectly crafted by Grant McNamee, who infused the character with gentle humor while maintaining authenticity. Subtle physical choices brought age and credibility to the role, and moments of dozing or distraction were perfectly timed so as to not disrupt from the surrounding action. The same careful attention carried over as Noelle Claeys lit up the stage as Miss Bates with contagious energy as the character's relentless chatter filled the room. At moments of embarrassment, Claeys' pace softened, revealing glimpses of vulnerability beneath the bubbly nature of the character. Moving seamlessly between lively exuberance and quiet self-consciousness, Claeys' Miss Bates emerged as both charmingly animated and deeply human, fully captivating in range.
From the very first moment, the stage itself seemed to breathe life into Austen's world. The set, crafted by the BITA Set and Scenic Art Design Team, was a triumph of both beauty and ingenuity, instantly transporting the audience to the refined world of the Regency era. Every set piece, from the finely detailed furniture to the subtle period accents, added depth and authenticity, making the environment feel lived-in but vibrant. A large turntable proved especially effective, rotating smoothly through outdoor strolls and carriage rides. Its surface, painted with blooming wisteria, brought a touch of romantic whimsy. Adding to the visual richness, projections of Regency-era paintings, executed by Hannah Cohen, Elliott Stoneburg, and Virginia Cheatham, transformed the back of the stage into a living gallery. When paired with a large picture frame at center stage, the effect was breathtaking; actors seemed to move within the very compositions of classic art.
Although Emma's matchmaking may not always go the best, Bishop Ireton's Jane Austen's Emma was certainly a match made in heaven.
Written by Ella Clarke of Thomas Jefferson High School for Science and Technology
When a girl who vows never to marry meddles in the love lives of her friends, what could possibly go wrong? Delicate silks, vibrant music, and the relaxed strokes of a paintbrush begin the tale at Bishop Ireton's production of Jane Austen's Emma.
A tale of mischievous matchmaking, yearning, and eventually marriage, Jane Austen's Emma is a retelling of the classic 1815 novel. Adapted by Emma Rice, Kathryn Rice, and Elianajoy Volin specifically for this production, narrators Jane and Cassandra Austen lead audiences through the journey of the headstrong Miss Emma Woodhouse's matchmaking. Vowing never to marry, Emma plays matchmaker for her closest friend, Harriet. However, as the fickle winds of love vex and redirect her efforts time and time again, Emma unknowingly begins to fall in love herself.
Confident and powerful, Bethany Tilahun's performance as Emma Woodhouse emphasized her assertive feminist nature without forgoing her more delicate side. With each strong step and passionate monologue, Tilahun kept her voice clear but pointed, earnestly guiding her friends' love lives. Tilahun revealed Emma's softer side as she played the pianoforte during a ball, her emotions evident as her voice lilted over the music, a delicate trill betraying her feelings towards Mr. Churchill (Deacon Crenshaw). Entering with a swagger, Crenshaw's over the top emotions and nonchalant gestures revealed his intense desire to get hitched. Even when announcing his aunt's death, Crenshaw's solemn tone carried a pompous undertone, rendering his every move comedic.
Emma's foe, the exceedingly polite and gracefully feminine Miss Fairfax, was played with effortless poise by Siobhan Ryan. Offering soft glances to her male companions and gracefully crossing her arms while at dinner, Ryan embodied the epitome of feminine propriety, making it evident how the headstrong Emma could dislike Miss Fairfax so much.
The entire play was placed within a proscenium arch, painstakingly assembled and painted by the BITA Set and Scenic Art Design Team to resemble the frame of a Regency-era painting. Windows, Christmas trees, and even an artist's easel framed the centerpiece, a finely painted turntable. Whether gently turning to imbue a sense of motion in a carriage scene or rotating quickly during a garden promenade, the turntable grounded the multi-piece set by being dynamic and yet constant.
Emphasizing the motifs between characters, the costumes team (Nancy McDougal, CW Johnston, Keira Shearon, and the BITA Costuming Team) did extensive research to ensure all costumes were period appropriate and fit their characters. They implemented thematic color palettes, clothing the assertive characters in warmer colors and the more reserved characters in cool ones. The attention to detail was exquisite, with plain dresses allowing more feminine characters like Miss Fairfax to blend in, while emphasizing more headstrong characters like Emma through patterns and multi-layered dresses.
This determined romp, pardon me, stroll through Regency-era Britain, Bishop Ireton's performance of Jane Austen's Emma proved that while one may not seek out love, love may arrive on its own accord.