• The Ensemble Theatre Co. stages Paul Gordon’s musical adaptation of Jane Austen’s novel “Emma.”
    The Ensemble Theatre Co. stages Paul Gordon’s musical adaptation of Jane Austen’s novel “Emma.”
  • The Ensemble Theatre Co. stages Paul Gordon’s musical adaptation of Jane Austen’s novel “Emma.”
    The Ensemble Theatre Co. stages Paul Gordon’s musical adaptation of Jane Austen’s novel “Emma.”
  • The Ensemble Theatre Co. stages Paul Gordon’s musical adaptation of Jane Austen’s novel “Emma.”
    The Ensemble Theatre Co. stages Paul Gordon’s musical adaptation of Jane Austen’s novel “Emma.”
  • The Ensemble Theatre Co. stages Paul Gordon’s musical adaptation of Jane Austen’s novel “Emma.”
    The Ensemble Theatre Co. stages Paul Gordon’s musical adaptation of Jane Austen’s novel “Emma.”
  • The Ensemble Theatre Co. stages Paul Gordon’s musical adaptation of Jane Austen’s novel “Emma.”
    The Ensemble Theatre Co. stages Paul Gordon’s musical adaptation of Jane Austen’s novel “Emma.”
  • The Ensemble Theatre Co. stages Paul Gordon’s musical adaptation of Jane Austen’s novel “Emma.”
    The Ensemble Theatre Co. stages Paul Gordon’s musical adaptation of Jane Austen’s novel “Emma.”
  • The Ensemble Theatre Co. stages Paul Gordon’s musical adaptation of Jane Austen’s novel “Emma.”
    The Ensemble Theatre Co. stages Paul Gordon’s musical adaptation of Jane Austen’s novel “Emma.”
  • The Ensemble Theatre Co. stages Paul Gordon’s musical adaptation of Jane Austen’s novel “Emma.”
    The Ensemble Theatre Co. stages Paul Gordon’s musical adaptation of Jane Austen’s novel “Emma.”
  • The Ensemble Theatre Co. stages Paul Gordon’s musical adaptation of Jane Austen’s novel “Emma.”
    The Ensemble Theatre Co. stages Paul Gordon’s musical adaptation of Jane Austen’s novel “Emma.”

The Ensemble Theatre Co.’s bright current production of Paul Gordon’s snappy musical adaptation of Jane Austen’s novel “Emma” runs at The New Vic through Feb. 23.

Set in its original 19th century English village, the story features Austen’s usual topics, with her signature incisive wit, affection, and social constraints, machinations and mix-ups, especially the restrictions women faced, and the bloom of love and romance in spite of it all.

With clever direction by Andrew Barnicle that makes the most of simple but evocative sets and lighting, the entire cast delivers exceptional performances. The vocals are clear and strong, and the movement and expression are intentional. If Austen suits you, this production more than satisfies, charms and delights.

The title character is a privileged young woman who prides herself an astute matchmaker. Samantha Eggers’ Harvard training, Broadway experience and several past ETC performances (“Christmas at Pemberley,” “School of Lies”) show in her sharp, nuanced performance as a presumptuous young woman who meddles, makes mistakes, revises her approach and learns her own heart.

Characters are introduced one by one in tidy staging and through multipart harmonies.

Mr. Knightley, acted and sung with strength by Kevin Earley in his ETC debut, the brother of Emma’s sister’s husband (at several points in the libretto: “It’s so confusing!”), is her verbal sparring partner, her candid confidant and her conscience.

Jenna Lea Rosen shines in her ETC debut — even among several richly talented actors and polished performances — as the ingenuous orphan Harriet Smith who Emma takes under her wing. As Emma’s comic foil, Rosen’s vocals and acting depict an enthusiastic young woman who holds the audience rapt with her passions and desire to do the “right” thing.

Clever rhymes and contemporary song lyrics highlight the play’s relevance for 21st century audiences, including funny reflections on family in “Relations,” Emma’s speculation on loving a man she doesn’t know in “Should We Ever Meet” and her reactions to actual experience in “This is How Love Feels” and “The Epiphany.”

Harriet’s “Humiliation” at a ball is a peak moment of humor and sparkling song.

Irony features prominently at moments when “aside from the anguish and torment, we had a good time” and “leisure is wearing us out.”

Beyond love triangles, “Emma” features a veritable love hexagon! Deceit leads to hilarity as the audience is privy to ubiquitous fibs and sideways communication at a picnic and other times.

Crisp dialogue, superb diction and an excellent sound mix make it easy to enjoy every clever quip and all the repartee.

Live (though invisible) piano accompaniment by music director Brent Schindele provides a melodious but unobtrusive backdrop for universally robust vocals.

When all performances are so strong, a light look at social norms, romantic hopes and manipulations, and changes of heart delivers substantive entertainment value.

True to the novel on which it is based, the cast is entirely white, some practically incandescent. Even though the onstage demographic matches the author’s intention, it’s a noticeably monochromatic group for a 21st century production.

This expert production offers a witty, warm, 100 percent worthy theater experience perfect for chilly winter days.

“Emma” runs through Feb. 23. Recommended special dates include pre-show talks Feb. 12 and 19, the Valentine’s Day Martini Night (pre-performance) and the post-performance Talk Back on Feb. 20.

For tickets, call 805.965.5400. Click here for more information.

— Local arts critic Judith Smith-Meyer is a round-the-clock appreciator of the creative act.