The Watsons - Spoiler Free Review

Photography: Richard Parkhill

10 out of 10 stars - LIMITED TICKETS REMAINING!

Tickets here: The Watsons | TryBooking Australia

“Jane Austen’s wit collides with the imagination of contemporary playwright Laura Wade. The Watsons, directed by Matthew Chapman, brings Austen’s unfinished manuscript to hilarious and thoughtful life, promising audiences a period romp that’s anything but predictable.” This was printed in August’s Encore magazine (before seeing the production), and having seen this delight, I remain behind the statement 100%

In celebration of the 250th anniversary of Jane Austen’s birth, The Watsons draws its inspiration from her unfinished novel. The reasons for its incompletion remain a mystery; but this is where playwright Laura Wade steps in, finishing the story in her own imaginative way and, in the process, creating one of the funniest and most inventive pieces of theatre I have seen.

University of Adelaide Theatre Guild Director Matthew Chapman delivers a charming and polished production that will satisfy the many demographics we find in the audience. The Regency typical Jane Austen stuff through to the raunch, the f-bombs, and Candy Crush are all in there, plotted and twisted so eloquently that it is served up to the audience perfectly.

Lighting and Sound were designed and operated by Stephen Dean, which worked wonderfully and consistently throughout the whole production. Costumes by Gilian Cordell, Emily Currie and Chapman were brilliant – as we enter Act Two, the contrast in characters are well presented, right down to the biker jacket worn by Emma.

Imogen Deller-Evans brings a vibrant presence to Emma Watson, the story’s heroine. Her accent, diction, and carriage are spot on in every Austen-style scene, and she adapts gracefully as the narrative breaks loose from tradition. Deller-Evans uses space confidently, engaging physically and emotionally with her co-stars to create a strong, central performance.

Playing opposite Deller-Evans is Rebecca Kemp as the “Servant.” Initially blending into the background as such roles often do, Kemp’s character swiftly proves pivotal, orchestrating a game-changing twist at the end of Act One. In Act Two, Kemp seizes the opportunity to explore her character’s layers, delivering the nuanced development essential for the production’s meta-theatrical flair. Her faux accent adds an extra comic flourish, worthy of note.

Photography: Richard Parkhill

Laura Antoniazzi’s Elizabeth Watson impressively “reads” in character throughout the pre-show while the audience settles, absorbing snatches of conversation before gracefully blending into the action as the play launches. In Act One, Elizabeth has substantial importance, grounding Emma; in Act Two, Antoniazzi is allowed more freedom to play, engaging with the chaos as the characters—and story—veer into the unexpected.

Lucy Johnson, as Margaret Watson, injects energy and perfect comic timing into her every moment on stage. Her actions and reactions are carefully calibrated, landing her jokes with precision. Harry Passehl’s Robert Watson brings a confident boldness, his towering physicality and assured delivery helping to expand the dynamics of the tight ensemble. David Lockwood, as Mr. Watson, offers one of the show’s delights: confined to bed for two scenes, speaking perhaps four lines total, yet managing to capture the audience’s applause.

Bonnie McAllister plays Mrs Robert with flourish. Her grand physicality and expressive delivery deliver memorable, comedic moments that play off Passehl’s Mr Robert brilliantly. Genevieve Hudson, as Miss Osborne, plays an initially marriage-minded lady who finds liberation in an alternative lifestyle. Despite limited lines, Hudson manages to leave a credible and engaging impression, particularly in her transformation.

Maxwell Whigham (Lord Osborne) and Thomas Midena (Tom Musgrave) each begin as possible matches for Emma but, as the plot twists, both develop further character traits and choices. Whigham’s Lord Osborne—with mannerisms reminiscent of Frozen’s Lord Wesselton—is a delight, while Midena’s Tom Musgrave, channeling the slyness of Hans from the same musical, is suitably cad. Both actors own their respective storylines and contribute heartily to the production’s comic rhythm.

Angela Short as Nanny and Lindy LeCornu as Lady Osborne get an amazing moment to shine in Act Two, proving that you’re never too old for a romance! Short’s Nanny is precise, warm, and convincingly devoted to the Watson family, while LeCornu’s Lady Osborne projects a regal bearing and piercing voice that fills the theatre—without any microphones required. Their dramatic shifts in Act Two delightfully defy expectations.

Tom Tassone, as Mr. Howard, and Frederick Pincombe, as 10-year-old Charles Howard, offer contrasting suitors for Emma. Tassone’s portrayal stands out for its gentle sincerity, providing a nuanced alternative to the brashness of other male characters. Pincombe brings energy and humour to his scenes, always watchable even when away from the spotlight.

Celeste Barone, as Mrs Edwards, may have minimal dialogue, but she makes the most of her opportunities, especially with her return in Act Two, hungry for more action. The two Redcoats, Louis Bianchini and Dylan Ross, take otherwise minor roles and infuse them with characterful detail, culminating in one of the production’s audience highlights: Bianchini’s interaction with Emma in the latter half of the play.

Photography: Richard Parkhill

The cast’s chemistry is a critical part of the play’s success, each member comfortable with both the period formality and the sudden swings into farce and meta-theatre. Standout moments abound—not least Deller-Evans’ measured chaos as Emma. The production team deserves applause for integrating traditional and contemporary elements so smoothly, from sound cues to costume evolutions, and for embracing the script’s madcap second-act twists without losing momentum.

Deservedly, this production is the first to receive a perfect score from A Thousand Words – if you want to discover what the fuss is all about, there are minimal tickets remaining! Go for the romance, stay for the surprises and laughter, and discover how one determined heroine can transform the page… and the stage.