if published now.
So, Emily, tell us what inspired you to write a love story set on the Yorkshire moors.
Well, I wanted to scotch the idea that Yorkshire people are not romantic! More seriously, I studied history at Oxford, I’m fascinated by the links between Yorkshire’s landed elite, the colonies and the slave trade. So, beyond the love story, the book is also about empire and exploitation. Even today, large swathes of Yorkshire are owned by the descendants of slave masters. But of courses it IS also a love story!
Amazing! I’ve read the book, and a lot of that politics is more subtle. So, tell me about the title.
Well, I’m a big Kate Bush fan. Got that from my dad. And just loved her song Wuthering Heights. So, I thought that could be a great name for the place on the moors where the affair takes place, the backdrop if you like. Oh, and yes before you ask, Kate Bush’s agents did give me permission to use the name! I was also influenced by the Genesis album Wind and Wuthering, another of my dad’s favourites!
Would you describe yourself as a neo-Gothic novelist?
(Emily Brontë looks a bit Goth herself – small, pretty, dark haired, pale, and dressed completely in black. A consumptive look one might say).
I don’t want to be labelled Goth, Romantic, anything. I’m Emily Brontë and I’ve written a love story and a historical novel which I think has a lot of relevant messages for the tough times we are living in.
And the puppy scene, where one of the characters strangles a litter of puppies? Some people have found this gratuitous. People walked out yesterday when you read out that bit of the novel… Do you regret that scene in the novel?
On reflection, yes. But I was trying to show a cruel personality – measured by the standards of the 19th century, which is when the novel is set. My editor wants to remove that scene from the second edition – if there is one!
So, a very successful writing debut, congratulations. You made a hit in Holmfirth this week. What’s next?
Mmm… still thinking. My sister Charlotte is au pairing in Brussels – I went to see her last month. She told me some interesting stuff about the family she is working for, mental health issues, tax dodging schemes in the Caribbean and so on. I’m thinking of weaving a story around some of that, building upon Jean Rhys’s Wide Sargasso Sea… it can have some of the same ingredients as Wuthering Heights – love, pain, a backdrop of the Colonies, the slave trade, race issues. Again, all themes for our times… (John A Clarke)
Charlotte Brontë’s Jane Eyre has long held its place as one of literature’s most enduring gothic romances, and the Twin Lakes Playhouse production, which ran from August 8–24, captured both the novel’s sweeping passion and its quiet resilience with remarkable theatrical ingenuity. Adapted by Willis Hall and directed by Olivia Wolfe, the play embraced Brontë’s spirit while offering fresh theatrical choices that gave the story immediacy and impact.
Orphaned as a child, Jane Eyre endures a harsh upbringing but grows into a strong, independent young woman. She takes a position as governess at Thornfield Hall, where she meets the brooding Edward Rochester and falls in love with him. Just as she is about to marry him, the wedding is interrupted by Richard Mason, his first wife’s brother. Surprise! Bertha Mason is the crazy lady locked away in the attic. Torn between passion and principle, Jane Leaves but ultimately returns, finding Rochester humbled and seeking redemption. I’m not sure I approve of Jane’s choices in the end, but logic in classic literature has always challenged my sense of right and wrong, reminding me that moral dilemmas are often complex and that love and duty don’t always align neatly.
One of the most striking choices in this staging was the use of a chorus of actors to narrate the story. Rather than relying on lengthy exposition, the ensemble flowed in and out of scenes as living storytellers, weaving Brontë’s words into the fabric of the performance. This chorus became an omnipresent guide, giving the audience a sense of Jane’s inner voice and moving the story along with energy and clarity.
The role of Jane herself was beautifully realized through two equally captivating performances. Logan Jackson portrayed Young Jane with a solemn spirit and youthful vulnerability, setting the foundation for the character’s journey. Later, Kelsey Yearwood took on the mantle of the older Jane, carrying that same resolve and layering it with maturity, intelligence, and quiet strength. Together, their performances created a seamless portrait of Jane Eyre’s growth from a resilient child into a woman determined to live by her principles.
A central highlight of the evening was the chemistry between Kelsey Yearwood’s Jane and Phoenix Tilley’s Edward Rochester. The two commanded the stage with a palpable push-and-pull energy, which at the end of the show we learned turned into a real romance between the leading couple. Their scenes together were charged with tension and tenderness in equal measure, making the emotional stakes of the story feel vivid and immediate.
Equally unforgettable was the presence of Edward’s first wife, Bertha Mason, played with startling intensity by Josselyn Obregon. Her chilling gothic edge was alarming in the best ways! Obregon’s portrayal gave Bertha a raw, unsettling energy that loomed over the narrative, a constant reminder of the secrets hidden within Thornfield Hall.
Director Olivia Wolfe leaned into the intimacy of the Twin Lakes Playhouse enhancing the space with dark, atmospheric staging and thoughtful pacing. This gave the narrative the ominous weight it deserves, while the cast added a dynamic rhythm that kept the drama alive in every moment. We all loved it! (Theresa Bertram)
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