How come there is so much life in Emma Rice's Wuthering Heights when there is so much death and "so little love" in Emily Bronte's Wuthering Heights (with a helpful, if grim family tree at the beginning of the digital programme)? Because she doesn't look at life the way that others might, or tell it the way others might. Take, for example, her opinion that Emily Bronte is an "overlooked comic genius", presenting as evidence the foppish Lockwood (Sam Archer) and Little Linton Heathcliff (Katy Owen), "the most despicably funny character ever written".
Or how Rice transforms the Yorkshire moorland into a character, The Moor, led by Nandi Bhebhe, the narrator in a crown of thorns and twigs. All but Lucy McCormick's Catherine Earnshaw and Ash Hunter's Heathcliff play The Moor in Rice's ensemble and even McCormick is seen shaking a stick feverishly in the first evocation of the moorland, amid the sound and fury of the live band's percussive clatter signifying everything about Yorkshire's tight, stifling grip.
Bhebhe's ill weather-forecasting Moor and cohorts become the equivalent of Macbeth's witches, both McCormick's Cathy and Hunter's conversing directly with her, although the cautionary Moor is trying to save them from themselves.
Who cannot but love the team play in writer-director Rice's shows, as exemplified by those Moors: the Moors, the merrier, as it were. Her cast sits attentively to the sides, always in view, visibly enthusing in each other's performances as they conjure what Hunter calls her "theatre magic". [...]
Ultimately, spread over this revenge tragedy's ensnaring three hours, this is more Heathcliff's Wuthering Heights than Cathy's, on account of Rice's most serious social commentary of all, on racism, prompted by her visit to the Calais Jungle. Hunter's intense, brooding, raging Heathcliff is the refugee, the outsider, of Jamaican roots, abused and mistreated. "Cruelty breeds cruelty. Be careful what you seed," cautions Rice.
And yet, amid so little love and so much 19th century grimness up north, Rice finds an uplifting finale so beautiful that it brings tears of joy. (Charles Hutchinson)
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