107,945 words

Detroit Theater Examiner reviews the 'theatre experience' The Heights giving it four stars out of five.

“He's more myself than I am. Whatever our souls are made of, his and mine are the same.”
This is one of the many quotes from Emily Brontë’s “Wuthering Heights” that is painted on the floor of the performance space inside Gallery 17. Wander around (or wonder around) and you’ll find headless manikins and faceless dolls set on pillars between trees made out of skewered books. Up the stairs, a steel bed is adorned with mementos and everything seems draped with a tangle of tarnished lockets. Audience members are free to move about the space along with the actors, who may interact with them as seems appropriate over the course of this tightly paced, one-hour experience.
Choose your vantage point – upstairs or down – and enjoy being enveloped in “The Heights” – the latest immersive experience designed and performed by the nerve theatre company. It’s the classic story of Heathcliff and his beloved Cathy – a dark novel about the earthly vengeance that obsesses him and the immortal passion that binds them through eternity. It helps if one can remember the basic plot points from the complex novel studied in English Lit 101 – or even from the 1939 film – but it’s not mandatory. Brontë’s 107,945 words have been pared down to the emotional essentials in this captivating nerve production – and that’s what matters. [...]
“The Heights” does what nerve does best – it makes us reconsider something we thought we knew. Those who love “Wuthering Heights” will appreciate how the script is true to Brontë’s own words. Those who are intrigued by the phenomenon of immersive theatre will find that everything is calculated to engage on a sensory level. And those who simply want to try something new will not be disappointed – unless the simply fail to secure a reservation for the last two performances. (Patty Nolan)

Theaternomadin reviews the Bernard Herrmann's Wuthering Heights performances in Brunswick:

Der amerikanische Komponist Bernard Herrmann nahm kein Blatt vor den Mund. Wenn er einen Film miserabel fand, weigerte er sich schlichtweg dafür Musik zu schreiben. Umso bezeichnender ist es, dass ein so düsterer und eigenartiger Stoff wie Wuthering Heights von Emily Brontë seine Aufmerksamkeit und Faszination so sehr weckte, dass er ihn zum Thema seiner einzigen Oper machte. Mehr als sechzig Jahre nach Vollendung der Partitur dieses lyrischen Dramas fand nun am Staatstheater Braunschweig die europäische Erstaufführung in einer Inszenierung von Operndirektor Philipp Kochheim statt. Kann er damit an den Erfolg des ersten Beitrags der neuen Reihe “The American Way of Opera” (The Voyage of Edgar Allan Poe von Dominick Argento) anschließen? (Read more) (Viktoria Knuth)

Teen Ink has an article on 'Wuthering Heights and Jane Eyre as Early Feminist Commentaries'.