Emme Hoy's adaptation of Anne Brontë's THE TENANT OF WILDFELL HALL, ensures the essence of the early feminist novel remains while reinforcing the continuing need for sisterhood solidarity and support for women needing to escape from abusive environments. Under Jessica Arthur's direction, a Victorian aesthetic is combined with a more contemporary speech pattern to provide a visually elegant work that remains relatable to the 21st century audience. [...]Set Designer Elizabeth Gadsby has opted to keep the set relatively simple with an expression of the grey stone manor homes of both Wildfell Hall and Grassdale sitting atop the turntable stage to allow a view to events outside the grand houses and within their walls. Gadsby refrains from trying to replicate any expression of the countryside on which these homes sit, allowing the audience's imagination to fill in the gaps while also ensuring that the broader scene isn't central to the human stories that unfold. Trent Suidgeest's lighting design captures the changing light of sunny picnic weather, diming dusk and candlelight with an interesting visual expression of the sense of foreboding. Clemence Williams' sound design and compositions straddle a sense of old world and contemporary as they overlay the scenes with many being performed live by Eliza Scott.Jessica Arthur's direction ensures that Tuuli Narkle captures Helen's strength while holding an air of mystery. Narkle's Helen remains a likeable character in the face of the awful treatment she endured, the misogynistic behavior from the men and obnoxious insulting behavior from one of the women in her circles. She exudes the caring protective mother along with a resilience that enabled her to go against social expectations and the law.Remy Hii's portrayal of the Lindenhope farmer Gilbert Markham shows the young man's evolution from being more absorbed in his own opinions and entertaining the unkind commentary of the likes of the spiteful Eliza Millward (Nikita Waldron) to becoming more considerate and understanding of newcomer Helen and her son Arthur (Danielle Catanzariti). Hii ensures that there are initial similarities with the elder Arthur Huntingdon (Ben O'Toole) though while Arthur senior refuses to change his ways to the bitter end, Gilbert choses to change his ways.The remainder of the cast double characters that have similarities with their alternates in Helen's other life. Tara Morice gives Helen's Aunt, with whom she lives till her marriage to Arthur, and Gilbert's mother Mrs Markham a disapproving severity while her expression of Helen's maid Rachel is presented with a compassion and concern. As Frederick Lawrence and Lord Lowborough, Antony Taufa lends a softer tone as the landlord of Wildfell Hall and the reformed quiet husband of the obnoxious Annabelle (Nikita Waldron). Eliza Scott presents a quieter type of Victorian woman who was resigned to only being viewed in her role in relation to men, either as a subservient wife or an unwed woman of an age where it was believed she would no longer marry in the form of Milicent Hattersley and Mary Millward respectively. Scott's performance has a sincerity that makes the reveal of both young ladies' strength and solidarity with Helen even more powerful. The characters of Milicent and Mary, along with Rachel, are starkly contrasted with Nikita Waldron's calculated Eliza Millward and Annabella Willmont. While the rest of the performers balance a naturalness into their expressions, regardless of how absurd the characters and text feels in the modern world, Waldron overplays her roles with a more forced and unconvincing cadence that detaches the characters from the possibility of being relatable, ensuring they are thoroughly unlikable. (Jade Kops)
Of the three Brontë sisters, Anne was reputedly the most defiant and unruly. [...]For the most part, it is a stunning production thanks to the outstanding performances and clever design elements. What is problematic is the structure, length and density. The novel tells the narrative in three parts: present, past, then back to the present. Hoy’s script switches from present to past frequently. With many of the cast playing duel roles (different characters in each time frame) it’s easy for a viewer to lose the thread, especially if you are not already familiar with the story. (Rita Bratovich)
"Wuthering Heights" (1977) – Kate BushSpoiler alert: "Wuthering Heights" is sung from the POV of a ghost named Cathy. Non-spoiler alert: This is not the weirdest thing about the song. "Wuthering Heights" is a mood, and though it might not sound traditionally rebellious, it's possibly the most radical choice on this list. As bizarre now as the day it was born, this Bronte novel set to music captures madness in a spinning chorus you won't be able to excise. Written by the now-ubiquitous Kate Bush when she was 18 and sung in what might be described as "full banshee mode," "Wuthering Heights" was initially refused by her label to be the first single. But she insisted, filming a now-legendary video to match. And now, Bush's story continues as her music's role in Stranger Things has garnered renewed interest and a new generation of fans. Long may she twirl. (Debby Wolfinsohn)
A great turnout for the unveiling of Nancy De Garrs’ headstone by Steve, a direct relative of Nancy’s, along with our chairman, Allan Hillary, and Steve Lightfoot, volunteer researcher, whose amazing efforts managed to locate the unmarked grave. Epitaph by Charlotte Brontë. pic.twitter.com/pQETzICs4a
— UndercliffeCemetery (@undercliffecem) June 27, 2022
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