The Watsons

The Watsons, The University of Adelaide Theatre Guild’s latest play is a wonderful night at the theatre. Intentionally not being aware of the plot line, I was carried along with the exuberance and joy of this piece. It is masterfully directed by Matthew Chapman and I was hugely surprised and delighted by the plot twist mid-play.

It is difficult as a reviewer to find the balance between discussing a play and revealing its secrets. Frustratingly, many simply recount the plot, but as the key to this piece is surprise, I will try to reveal only what I must.

Do not expect a literary prim and proper Jane Austen piece. Yes, we begin this way, and playwright Laura Wade cleverly uses Austen’s unfinished book as a springboard to creating an hilarious comedy. We are very soon engaged in a time bending, ripple effect philosophical commentary, in which the author herself becomes involved.

The story begins calmly with Emma Watson, (played vivaciously by Imogen Deller -Evans) having returned home after 14 years away to her sister Elizabeth- the elegant and superb Laura Antoniazzi and her ailing father (David Lockwood). Marriage, for Emma and her sisters, is seemingly very much on the radar, as various suitors  present themselves at a local ball. The ensemble of assorted characters are each beautifully crafted and Chapman’s transitions and pacing in this play, excellent.

Standout among the throngs of likely suitors are Thomas MIdena as the “cad”, Tom Musgrave and Maxwell Wigham as Lord Osbourne. Both could not be any more polar if they tried. Midena masterfully slides his way around the stage as a flirtatious and slightly obnoxious character- for me at times somewhat reminiscent of “Flash” in Blackadder. He is a very talented chameleon who can play any role superbly. Wigham likewise, plays the foppish, useless, awkward lord brilliantly- every mannerism and facial expression, a lesson in physical acting.

At this point of the play, we wait with excitement to see whom Emma will choose to marry as she is buffeted also by family members and pushed towards the cleric, Mr Howard, played beautifully by Tom Tassone. There are many in the ensemble cast and they work together seamlessly, particularly when the unfinished book takes a left turn and anarchy erupts. Bonnie McAllister’s Mrs Roberts, is bombastic and wonderful and  Henry Passehl is similarly arrogant and clever. The sibling rivalry between Elizabeth and other sister Margaret (Lucy Johnson) is the epitome of Regency drama. A lovely character is that of Charles Howard, played with maturity and spunk by Frederick Pincombe, a talented actor to watch.

The Osbourne family is rounded out well by a classically lovely  ‘era- apt’ performance by Genevieve Hudson as Miss Osbourne, but huge accolades need to be given to Lindy Le Cornu as Lady Osbourne- her ability to capture every scene with commanding presence and in this case, wonderful scowling, is enviable.

Other ensemble members who deserve a mention are Angela Short as the all-seeing nanny, whose shock relationship later in the play is beautifully-played comedy. Celeste Barone, Louis Bianchini and Dylan Ross, all bring great charisma on stage, and even with only small scenes are wonderful to watch.

Kudos now needs to go to the two starring women in this play. Imogen Deller-Evans brings a wide-eyed innocence to the role initially, and swivels marvellously to an enraged character, totally befuddled by the turn of events. Her sudden “realisation that there is an audience watching” moment was an absolute delight. A very talented and versatile actress.

Rebecca Kemp plays Laura, the author, who breaks the fourth wall and opens up the characters’ eyes to their fate as actually not being real. This is a stunning piece of acting as she reveals that she holds Emma’s and all other characters’ fates in her pen and notebook. Kemp has us in the palm of her hand and empathising with not only the physical plight of the situation, but also with her personal story and the frustration of authorship.

It would be remiss not to mention the non performing aspects of this play. Whilst the set (Matthew Chapman) is simplistic, the use of pages from Austen’s writing is clever and certainly sets the scene- the lack of any colour other than sepia is a nod to the period. Costuming by Gillian Cordell, Emily Currie and Matthew Chapman was beautiful and ”Regency perfect” – very Bridgerton! Lighting by Stephen Dean was, as always solid and well designed.

Not normally being a huge fan of this era in film nor literature myself, I was swept away by this play as it literally burst from the unfinished pages into the real world.

It is a thoroughly well directed and beautifully acted piece and at this point is almost sold out. Try and grab one of the few remaining tickets as this is a must- see!

Shelley Hampton

Photographer: Richard Parkhill