There’s hope for the American musical theater after all. For those of us who feel that Andrew Lloyd Weber was, perhaps, the greatest disaster to strike musical theater, the recent premiere of Emma by the bay area’s venerable TheaterWorks organization, brings hope of good things to come. The style, tone and - most importantly - the writing falls somewhere at the intersection of Cole Porter, the Gershwins and Noel Coward, which is a very heady neighborhood to be in.
But don’t just take my word for it. This delightful loose adaptation from Jane Austen was uniformly praised by the Bay Area drama critics (something that rarely happens, in my experience):
“You may not be swept away or entirely convinced, but even the most skeptical audience member would have to work hard not to be gratified, impressed and entertained.” - Steve Winn, San Francisco Chronicle
“Paul Gordon’s music, lyrics and books are all perfect enhancements of Austen’s 2-century-old romantic comedy novel, and Robert Kelley should be anyone’s director of choice for staging a small-scale musical. But as cute little musicals come and go, the title song is Gordon’s most likely guarantee of staying power, and it’s difficult to sell a good song these days.“ -Colin Seymour, San Jose Mercury News [watch a short video of this song]
“As far as world premieres go, ‘Emma’ is in remarkably good shape. Gordon’s score — an easy-on-the-ears kind of chamber pop orchestrated for violin, cello, oboe/English horn and piano — hits all the right notes and captures both the silliness and earnest romance in Austen’s 1815 novel.” - Chad Jones, the Oakland Tribune
We went to see “Emma” last night, and were thoroughly entertained as was the entire audience. The music, the lyrics, the book, the direction and the performances were all spot-on. Each of the actors created characters that were both believable and enjoyable. Timothy Gulan (Mr. Knightly) gave the performance (a cross between Rex Harrison and Robert Goulet, in my mind) one would expect of so experienced an actor. But Lianne Marie Dobbs, in the title role, was a wonderful surprise. This actress is on stage for, easily, 99% of the show but she was always sparkling, engaging and entertaining with no sign of fatigue or “going through the paces.” I do hope to see more of her at TheaterWorks but fear this success will be just what she needs to send her east to the Great White Way.
Get tickets now, if you can. And, for the rest of the world outside the Bay area, watch for this gem to show up in your regional theater.