Christmas Day wouldn't be Christmas Day without a period-drama adaptation

British Theatre Guide reviews Wise Children's Wuthering Heights.

Rice’s adaptation and direction captures pulsing energies—both the gleeful abandon of youthful exploration and the throb of deep-seated wrongs. These are unified in the spirit of the Moors, here personified in the form of Nandi Bhebhe, Kandaka Moore, and several other members of the ensemble. Together, they incant rhythmic narration, issuing warnings and exhortations to action penned by Rice as a form of poetic, choral commentary. This, like much of the action, is underpinned by propulsive and catchy live music full of folky tones.

And what an ensemble this is. Mostly made up of collaborators with Rice from past Wise Children productions, it’s a multi-talented and captivating cast through and through. There are also a couple of significant newcomers to the company, including Lucy McCormick as Catherine Earnshaw. McCormick is well-known for a number of award-winning shows blending confrontational, confessional monologues with pop culture tropes and live music. She draws on some aspects of this persona here as a compellingly wild force of nature, banging on the windows of Wuthering Heights and bellowing powerfully into a mic while backed by the banshees of the Moors. [...]

Despite this dense web, relative newcomers to the story should find each moment clearly and powerfully mapped out, and the three-hour running time absolutely races by. The staging does occasionally make use of some now overly familiar devising / physical theatre tropes (it’s hard to see upturned books being used to stand in for birds in flight without thinking back to Complicite and beyond).

But there are also some stunning, and often simple, visual metaphors which all contribute to the rich storytelling of the piece. Rice’s trademarks—atmospheric musicality, often acrobatic dance, comedic but completely convincing characterisation, and rich visual imagery—are all present here as in her earlier Wise Children. And all bear witness to her respect for and love of the source material, and her company’s joy in sharing this with an audience. A dark, thrilling, and yet hopeful night out. (Mark Smith)

We tend to agree with this affirmation from Wales Online:

It's a truth universally acknowledged that Christmas Day wouldn't be Christmas Day without a period-drama adaptation.

And over the years we've had many: Jane Eyre, Bleak House, Great Expectations - it's a long list. (Emily Martin)

Persinsala (Italy) features the stage adaptation of Morirò in piedi by Riccardo Nencini, which is based on a book featuring a conversation between the author and a friend dying from cancer. 

Non intende piegarsi al destino e come sempre, libera e spavalda afferma: «Sono alla fine, Riccardo, e voglio morire a Firenze. Ed ora ci siamo. Ma morirò in piedi, come Emily Brontë». (Paola Bolletti) (Translation)

While we most certainly admire the attitude, we must say that Emily Brontë didn't die on her feet, at least not literally.

Brontë Babe Blog has a post on the Brontë Juvenilia at the British Library. Alistair Cross posts about Jane Eyre.