I confess, gentle reader, that I’ve never read Jane Austen’s Emma, but I sense that’s probably an advantage for anyone who sees this Theatre Royal Bath touring production of Ryan Craig’s adaptation of Austen’s 1815 novel. Dramatising a book always means having to make massive cuts to the original, otherwise you’d never be able to fit it into two and a half hours including an interval. But an Emma fan might well have firm ideas as to what to keep and what to boot out.

Jane Austen is very much in vogue at the moment – indeed, was she ever out of it? With the recent joyous production of Pride and Prejudice* (*Sort Of) and Laura Wade’s affectionate upending of the Austen landscape in The Watsons, she’s a target for modernisation and mickey-taking, whilst still admiring and relishing the essence of the original. I expected this adaptation to be much more surreal or meta; but, in fact, it’s a pretty straightforward production that tells Austen’s story (as far as I can make out) reasonably honestly and with a charming lightness of touch that brings all the relevant aspects of the nineteenth century into the present day.

Emma is a meddling, big-headed and insensitive young woman who knows her own mind and doesn’t know when to back down. She plucks a poor orphan girl, Harriet Smith, from obscurity and tries to make her fit for society, with no empathy for Harriet’s wishes or the honest farmer with whom she has been romantically linked. Instead, she sets her up with the local clergyman Mr Elton, who completely gets the wrong end of the stick and thinks that Emma has romantic ideas for herself on him, rather than trying to cultivate a romance between him and Harriet.

The first Act is very much a comedy of errors; but by the start of the second Act Elton has quickly married the snobbish Augusta, shattering Harriet’s expectations. Local gent Mr Knightley is sorry for Harriet and dances with her at a ball – which instantly convinces Harriet that they are both madly in love with each other; further disappointments ensue. Add to this mix Emma’s Achilles heel – the long-admired Mr Churchill, her rival in love Miss Fairfax, her bumbling old father and some heavy home truths from Knightley, and you have a recipe for a veritable West Country Coronation Street of tussles, resentments and misunderstandings.

Stephen Unwin’s production is slick and smart, with an emphasis on the comedy which can divert you from the fact that, deep down, Emma is a truly nasty piece of work, with a malicious streak revealing that she doesn’t give two hoots about anyone’s happiness or wellbeing. Her relish, for example, at the prospect of watching the admittedly dreadful Mrs Elton eating a strawberry (to which she allergic) is downright cruel. Any other character insights are pretty much ignored, as it’s all done for fun, and everything turns out all right in the end.

Ceci Calf’s set design is as blank and simple as you can imagine, inviting a silent running joke about the endless times that Mr Woodhouse’s chair and side table are diligently and knowingly brought on and off the stage. Her costume design is traditional and functional, all very respectable and nothing too showy except for the extravagant costume of the tastelessly imperious Augusta.

The cast all capture the spirit of the show very well, with a strong and credible central performance by India Shaw-Smith as Emma, bristling with confidence and the certainty that she is the most important person in the universe. In her professional debut, Maiya Louise Thapar gives us an affectionately unworldly Harriet, trapped by Emma’s plans and convincingly disturbed when all her prospects turn to dust.

William Chubb gives a scene-stealing performance as Woodhouse, curmudgeonly but not irredeemably so, knowing when to escape for the good of his senses. Ed Sayer gives a charismatic performance as Knightley, dishing out the criticisms much to Emma’s annoyance; Oscar Batterham is excellent as the hopeful Elton, only to be replaced by a more world-weary version after his marriage, and Rose Quentin is superb as the ghastly Augusta, point-scoring wherever she can, and never satisfied even when she has the best of everything.

The production never really soars into either the blissfully funny or revelatory character examination, but it bubbles along jovially in a sequence of amusing scenes and does exactly what it says on the tin. Did it make me want to read the book? Not really. But it was an entertaining way to spend a Thursday evening in Chichester!

Three-sy Does It!