Hosted by producer Adam, the afternoon began with a heartfelt introduction that immediately set the tone. Rather than simply discussing the logistics of bringing the production to London, he shared the personal journey that led him to champion the musical's UK premiere.Having first discovered Jane Eyre as a young theatre fan in Toronto, Adam recalled becoming captivated by the original cast recording before eventually seeing the Broadway production. Years later, after rediscovering the musical, he tracked down co-creators John Caird and Paul Gordon, leading to the production now preparing to open in London. It was a reminder that this is very much a passion project as well as a theatrical production.That passion was echoed throughout the afternoon.Co-director Megan McGinnis spoke movingly about Jane Eyre not only as one of her favourite musicals but also as a deeply important feminist story. Nearly two centuries after Charlotte Brontë first introduced readers to Jane, her search for equality, independence and self-worth continues to resonate with modern audiences, making the novel as relevant today as it was in the Victorian era.John Caird expanded on those themes, describing Jane Eyre as far more than a romance. For him, it is fundamentally a story about moral growth, self-worth and mortality. He explained how Jane begins life with almost nothing, while Rochester appears to possess everything, before their emotional journeys gradually reverse as the story unfolds. It is this character-driven storytelling, he believes, that has allowed the novel to endure for generations.One of the most fascinating insights into the adaptation came as Caird explained the production's unique approach to narration.Rather than asking Charlie Burn, who plays Jane, to carry every moment of narration herself, the ensemble collectively becomes Jane's voice, allowing the audience to experience the story through multiple performers while remaining firmly rooted in Brontë's first-person perspective. It is an intriguing theatrical concept that immediately distinguishes this adaptation from previous versions.The rehearsal itself offered an exciting glimpse of what audiences can expect when the production opens. The company performed several musical excerpts that demonstrated not only the emotional depth of Paul Gordon's score but also the exceptional vocal ability throughout the cast. Even in a rehearsal environment, the commitment and chemistry between the performers was immediately apparent, creating genuine anticipation for the finished production.Equally impressive was the thought that has gone into the staging.Although designer Morgan Large was unable to attend in person, his creative vision was shared with those present. An open playing space, visible costume pegs, lanterns suspended above the stage and a landscape of thorns beneath combine to create a symbolic environment that reflects both Jane's longing for freedom and the emotional obstacles she faces throughout her journey. Rather than attempting to recreate every location from the novel, the design embraces theatrical simplicity, allowing the company and storytelling to remain at the heart of the production.Another creative decision that stood out was the choice to cast real children in the roles of Young Jane and Adèle. As the creative team explained, experiencing Jane's childhood through genuine young performers helps establish the emotional foundation upon which the entire story is built.Following the presentation, members of the media were given the opportunity to conduct breakout interviews with the cast and creative team before exploring the production's costume and design concepts.Over the coming weeks, The Fan Carpet will be bringing you a series of exclusive interviews from the rehearsal room, including conversations with co-director Megan McGinnis, co-book writer and co-director John Caird, Eve Shanu-Wilson, Emily-Rose Samuel, Poppy Rose Jason and Isabelle Methven, as we continue our coverage leading up to opening night.With rehearsals well underway, one thing was immediately clear: this is a company approaching one of English literature's greatest novels with enormous respect, while confidently embracing the possibilities that musical theatre offers. We look forward to seeing how that vision comes together when Jane Eyre opens at Southwark Playhouse Elephant later this month.
Matty Healy and Gabbriette’s wedding photos are finally here, and the dark romance of it all is truly bewitching. The string of photos—shared by the model in several separate Instagram posts—are chaotic, intentionally low-res, gothic, sexy, and filled with the yearning passion of every Emily Brontë novel—like Wuthering Heights but with grungy, rock ‘n’ roll, Hollywood types. (Rosa Sanchez)
It looked like a Kate Bush lookalike competition was underway in Stratford at the weekend.Dozens of residents – and a few familiar faces – turned out in red for The Most Wuthering Heights Day Ever, held at the Bandstand, on Saturday (August 1).The flash mob was organised to celebrate the career and birthday of singer Kate Bush and also to raise funds for women’s domestic violence and health charities.The group of budding dancers joined thousands of people across the world recreating the video to Bush’s 1978 song Wuthering Heights, inspired by Emily Bronte’s novel.This is the second year the event has taken place in Stratford, organised by Stratford Town Trust and Stratford BID. (Philippa Mingins)
The purple, treeless moors found across Britain’s uplands can look timeless and wild. In Jane Eyre, Charlotte Brontë described “the purple moors” as “a wilderness of heath”. Yet these moors have been shaped by clearance, drainage, grazing, pollution and burning. (Joe Glentworth, Anna Gilchrist and Ian Thornhill)
A production of Theatre CaddisWriter: Eleanor ZealDirector: Danielle ArkwrightWith Eleanor Zeal, Rachel Overd, Georgia Harris and Ben Everett Rile6th - 28th (not 10th and 18th) August at 12.25pmJust The Snifter Room at Just The Tonic at The Mash House, venue number 288At the world's first ever Jane Eyre Convention, slightly neurotic aficionados gather to reenact their favourite novel. They squabble and fight over the best bits, correct interpretation etc. Real emotions are experienced as they follow Jane on her journey, including running wailing across the moors. They also attempt to rescue shackled Bertha in the attic. Finally they gain new insights and generally feel better. Show contains unrealistic violence, bonnets and minimal raunch. It may be mildly therapeutic and audience participation is optional. Double Fringe First winners.
Indeed, Blanche Willis Howard’s immensely popular first novel, One Summer (1875), exemplified the archetype. Set in a community on the Maine coast, Howard’s enemies-to-friends novel tells the story of a spirited and independent young woman who coolly rebuffs the attentions of a young man after an awkward rainy-evening encounter. (He mistakes her for a maid.) By the summer’s end, they meet again in Bar Harbor, where she at last admits her love for him and the two become engaged.As ephemeral as the season they celebrated, many summer novels were popular (or at least advertised) for just a few months. One Summer, though, appeared in successive printings or illustrated gift editions well into the next century. In 1876, a year after its first publication, Publishers Weekly asked booksellers to identify their most saleable novels. One Summer ranked below Dinah Mulock Craik’s phenomenally popular John Halifax (1856) and Charlotte Brontë’s Jane Eyre (1847) but ahead of Harriet Beecher Stowe’s Uncle Tom’s Cabin (1852). (Donna Harrington-Lueker)
Is the literary quality of romance fiction uniformly good? No, of course not. In any massive, varied genre, you are going to find some clunkers — but that is not unique to romance. A more serious critique is that some of these stories romanticize, and maybe encourage, toxic behavior. You could point to the sadism and obsessiveness of Christian Grey, from E.L. James’s “Fifty Shades of Grey”; the abduction and sexual assault in Kathleen E. Woodiwiss’s “The Flame and the Flower”; or even the deceptiveness and amorality of the hero in the romance-adjacent classic “Jane Eyre.” (Christine Larson)
This production succeeds not only as an historical drama, but also as a surprisingly funny and deeply human portrait of the siblings as they find their voices in a world determined to silence them.The design is striking in its simplicity. Costumes (by Clare Dewell) are minimal, yet cleverly used to distinguish each character, allowing the audience to focus on the performances rather than elaborate period detail.The set (by Nicola Webb) is similarly understated, but it never feels empty, instead drawing the audience into the Brontës’ world through imaginative staging. Particularly effective are the towering doors that instantly transport us into the intimidating atmosphere of London society. Projections added authenticity by using images taken from the real Brontë home although, while a thoughtful touch, perhaps were too high quality to preserve the period feel.Lighting (by Bruce Williams) is precise throughout, especially during split-stage scenes unfolding multiple locations and conversations simultaneously, and shifting seamlessly with each moment’s emotional tone, from the warmth of family intimacy to the harsher glare of public scrutiny.Sara Benbow’s musical arrangements deserve special mention, particularly her use of haunting choral pieces to connect scenes, creating a distinctly Victorian atmosphere. They also remind us that the Brontë sisters were talented musicians as well as writers.As we’ve come to expect from the Sinodun Players, the acting is particularly strong. Charlotte (Natalie Davies) dominates the stage and carries much of the performance with remarkable energy. Her portrayal combines witty comic timing with a raw emotional honesty that makes her feel completely real.Holly Smithson’s Emily is equally compelling, capturing powerful emotions with intensity while also embodying the understanding and lovable sister at the heart of the family.Anne (Sorrel Gibson) brings a touching innocence to the piece, offering a poignant insight into the experience of being a woman in the Victorian era and the way her more famous siblings overshadowed her.The three main actors bring a strong chemistry to the sisters and their interactions feel natural and established. The ensemble (Heather Banyard, Donna Thomson, Will Lidbetter, Dan Beauchamp, Martha Bullock and Alex Watts) transform into a variety of characters through subtle changes in voice and body language, and their reactions to the Brontës’ novels vividly convey the prejudice faced by women writers of the period, with Dan Beauchamp’s George sharply capturing the entitlement and attitudes of a Victorian gentleman. Dorothy Hirsch deserves enormous credit for the inventiveness of the staging.Moments such as the carriage ride, with ensemble members physically moving the wheels, are wonderfully theatrical, and having the sisters writing their novels in chalk on the stage floor is visually striking. Small details, like servants quietly cleaning up a smashed glass after a lively outburst, add a layer of realism that immerses the audience fully in the Victorian world.This is an imaginative production that sheds fresh light on the Brontë sisters and their creative lives. Thoughtful, funny and emotionally rich, Underdog: The Other Other Brontë never allows the audience a moment of boredom and leaves us with a renewed appreciation for the extraordinary women behind some of English literature’s greatest novels. (Lizzie Pannett)
“Wuthering Heights” took the opposite bet. Fennell even put the title in scare quotes — a warning that this was her version, not Emily Brontë’s. She amped up the sexuality, modernized the soundtrack with Charli XCX, and cast Jacob Elordi, a white Australian actor, as Heathcliff — a character Brontë explicitly describes as dark-skinned.The reviews split almost down the middle: 57% positive on Rotten Tomatoes and a 55 on Metacritic. Critics argued the film flattened a story about class and racial exclusion into glossy, decontextualized romance. Yet “Wuthering Heights” made $241.7 million worldwide against an $80 million budget. Creative risk didn’t work with the critics, but the discourse fed the box office.Put both side by side and the pattern becomes clear.Faithfulness and riskiness were never the real tests. What’s being measured is whether an adaptation matches the version each viewer has carried privately for years: a childhood memory, a favorite scene, one detail that mattered the first time. No writer’s room can adapt nostalgia. Audiences aren’t asking for the original story back. They are asking for a feeling. (Meghna Srikumar)
45. HathersageHathersage has strong literary connections - having inspired Charlotte Brontë while she was writing Jane Eyre. The nearby North Lees Hall (pictured here) also became the main inspiration for Thornfield Hall. The Grave of Little John, Robin Hood’s second-in-command, can be found at St. Michael’s Church in the heart of Hathersage. While there is little evidence proving he is buried here, ballads suggest that he originated from Hathersage and settled there again later in his life. (Tom Hardwick)
A ghost hunter says he has realised a lifelong ambition in launching a four-part series exploring paranormal activity in a historic Bradford district village.Jacob Haw-Wells, just 20 years old from Bradford, has created Haunted Haworth.It's a documentary-style series on YouTube that delves into eerie legends and supernatural reports in the iconic village of Haworth. (...)The series explores some of Haworth’s most intriguing locations, including Church Street, Haworth Old Hall Inn, the Old White Lion Hotel and Spooks.His investigations combine historical research with first-hand interviews.He said: "First I like to go to the location and speak to the owners, talk to people that have knowledge on the area, local businesses, people living in the surrounding area, I like to get them people on the show for interviews."The series follows real investigations into these locations while also highlighting Haworth's fascinating heritage and ghost stories." (Freya Thomson)
No me llamen exagerada, que yo con estos ojos que se ha de comer la tierra presencié en el Teatro Español de Madrid un brutal atropello teatral de Jane Eyre, la obra de Charlotte Brontë donde una mujer –bastante 'odiseica', por cierto– construye su destino y sus sentimientos de espaldas a los corsés de la época y asumiendo cierta humana imperfección, tentativa de poligamia incluida. Intentar convertir eso en un cántico a la sororidad, con la protagonista lanzando salvas solidarias a la neurasténica esposa del hombre que ama y que la ama... en fin. (Anna Grau) (Translation)
Jane Eyre: A New Musical, The Journey to SelfAugust 13, 2026 to August 16, 2026889 Dongdaming Road 东大名路889号Charlotte Brontë's "Jane Eyre" has been given a brand-new musical adaptation, which will be presented to Shanghai audiences from August 13 to 16 at AIA Grand Theater.This story of freedom, dignity, selfhood, and love is familiar to many. Jane's poignant question – Do you think, because I am poor, obscure, plain, and little, I am soulless and heartless? – has moved countless readers over the years.This new musical unfolds Jane's story in nine chapters. It is as if she has traveled across 180 years to the present, showing audiences through her actions that one can be plain, poor, or even unloved, but must always stay true to oneself."Many people tend to see Jane Eyre as a symbol of the nineteenth century; a textbook icon of the 'independent woman,' or a romantic legend," said director and musical singer Jin Shengquan."In fact, her dilemmas are our dilemmas, and her defiance is exactly what we long for. Her wholeness lies in her ability to remain self-possessed while also daring to love deeply," he added.Jin hopes that the musical, created in a contemporary theatrical language, will give this "female epic" a fresh look and inspire today's audiences.
Thursday, Aug. 20, 2026, at 3 p.m. in the lower level of Artworks, 106 N. Michigan Ave., Big Rapids, MIWuthering Heights"Wuthering Heights" is a challenging but memorable read because the novel does not offer a simple love story or a clear division between good and evil. There is a dark atmosphere surrounding "Wuthering Heights" and Thrushcross Grange. The reader is pulled into a world shaped by obsession, pride, revenge, class expectations, and emotional suffering. (...)Reading Wuthering Heights is unsettling because many of the characters are difficult to admire. Brontë does not ask readers to approve or condemn them. Instead, she asks us to think about how love, pride, class, and suffering shape people’s choices. It is a story that stays with the reader because it shows both the destructive power of obsession and the possibility of healing through compassion. (Barbara Ross)
HaworthHandsome, cobbled Haworth, former home of the Brontë sisters, is threatened by the construction of England’s largest wind farm.If approved, the Calderdale Energy Park will sit on the moors above the village where the Brontës wandered and composed. A total of 34 turbines – scaled back from an initial 61 – will blight the skyline, ruining the special atmosphere of places associated with the sisters such as Top Withens, the remote ruined farmhouse that inspired Wuthering Heights. “People come to Haworth to see the landscape and it will have a hugely negative impact on that,” said Robbie Moore, the Conservative MP for Keighley and Ilkley, whose constituency includes Haworth. (Christopher Winn)
It’s inevitable that any review of an Emily Brontë biography arriving on the heels of Emerald Fennell’s bonkers adaptation of Wuthering Heights will reference the film (and most have). But I’m in the odd position of having also reviewed Fennell’s movie. This prompted an editor at W.W. Norton & Co. to send me an advance copy of Deborah Lutz’s This Dark Night: Emily Bronte, A Life, which was published in early May 2026. It arrived with a letter suggesting I might enjoy it after my “thrashing” of Wuthering Heights: “It’s not quite roaming the moors, but it’s close.”A lifelong Brontë reader, I received the book eagerly, but did not take its editor’s words literally. Having read it, I realize she meant them that way. There are biographers desperate to know a life from the outside in and the inside out, and there are biographers aware that their subject is fundamentally unknowable. Lutz is the latter, and she works instead to produce a social and domestic history of those closest to Emily, a natural history of the West Yorkshire moors Brontë immortalized in Wuthering Heights, and a material history of Emily’s writing practice which, in the hands of Lutz’s meditative attention, approaches the mystical. “Expertise,” dry and academic, is the wrong word to characterize Lutz’s understanding of the Brontës. Victorianists tend to work exclusively with the established texts of their subjects, but Lutz spent several years immersed in Emily Brontë’s hand-written manuscripts (detailed photographs of these are included in the book) and inhabiting Brontë’s hometown of Haworth, West Yorkshire, and Brussels, where she studied alongside her older sister Charlotte at the Pensionnat Héger. Lutz pored over the local weather reports of Emily’s lifetime and learned the flora and fauna of the moors so integral to Brontë’s life and work (Emily could identify local birds by their song and kept a collection of their feathers she found on her daily walks). In This Dark Night, Lutz’s deep knowledge of Emily Brontë transcends biography and—appropriate for her subject, who wrote one of the most famous ghost stories in Western literature—approaches a haunting.Written after a large cache of papers by the Brontës “that had been missing for over a hundred years” surfaced in 2018, This Dark Night gives readers a great deal of fresh information about Emily Brontë. Even with this new material, Emily remains the most elusive of the four Brontë siblings who survived into adulthood (the two oldest sisters, Maria and Elizabeth, died in childhood, events Lutz ties convincingly to Emily’s psyche and writing). Although Charlotte Brontë outlived Branwell, Emily, and Anne, she died at thirty-nine of complications from her first pregnancy, and Lutz posits that it was her widower who likely burned most of Emily’s correspondence and diaries.Absent these sources, Lutz employs the candid letters, diaries, and various historiographical accounts of Emily’s father, Patrick, and her siblings to methodically illuminate Emily’s whereabouts and behaviors; these provide a comprehensive and intimate view into Emily’s place in the family pecking order. [...]This Dark Night effectively refutes the lasting image of the Brontës as isolated sad girls, stuck in the sticks with their abusive reverend father, which originated with Elizabeth Gaskell’s now-classic hagiography of her close friend, Charlotte Brontë. Lutz sketches a bustling, industrial Haworth where the Brontë siblings, as the children of the town cleric, were frequently at the center of social life, and Patrick bears no resemblance to the stereotypically restrictive Victorian father of legend. He gave his five daughters the same radical education he gave his only son, tutoring them in foreign languages and allowing unfettered access to the literature of the day (including the scandalous Lord Byron). He aided their travel to London and Brussels, and encouraged their creative writing, refusing to pressure them to marry. Online lit discourse likes to bat at the possibility that Emily Brontë was queer. Lutz won’t go so far as to guess, but she shows us a West Yorkshire where the Brontë siblings knew Anne Lister, the celebrated English diarist and lesbian, whose rarefied education and androgynous appearance modeled a different kind of life for Emily Brontë than the available standard for middle-class Victorian women–one Emily, who never married and devoted her life to art and her sisters, seems to have lived.Emily’s living is at the heart of This Dark Night, which eschews the historically romantic notion of Brontë’s artistic genius that places Wuthering Heights as her singular accomplishment, with life a mere cipher for the novel. [...]This Dark Night is, therefore, literally a biography of the dirt beneath Emily’s feet which subverts the tired trope of Emily Brontë hitching up her skirts and running wild on the moors to instead give us a woman who was both a writer and a naturalist who also ran a household. Wuthering Heights is a book best remembered for the wilderness of its moors which nonetheless takes place almost entirely inside. We think of Cathy’s longing for that wilderness when she is trapped in confinement and the longing, the state of it, feels almost like the place itself. Lutz compels us to wonder if Emily Brontë felt that same longing—not for the moors, which were her literal backyard, but to break free of her human form, to seep into the “rocks and stones and trees” of the world she loved. It’s difficult to say for sure, especially since This Dark Night is so grounded in the physical—gardens, laundry, mending, cooking, dogs, cats, hawks. Yet Lutz captures Brontë’s ineffable desire to break free of her physical body, which is both a graver and braver thing than she might have done with this biography.It’s possible—valuable, even—to reduce a figure like Emily Brontë to the questions that trouble our own gender politics. Emily Brontë might have often wished to be a man, or to love a woman, and these things may have limited her ability to lead the kind of life some of her contemporaries led. To write a book that addresses how Emily Brontë was limited by her gender is one thing. Lutz shows us instead that Emily Brontë’s real limitation was her human form, and how she paradoxically used that form to harness a mysticism and create some of the language’s most lasting works, works which nonetheless elucidate our own gender relations in ways rarely surpassed, even today. That is what a genius does, I suppose.Near the close of the book, Lutz writes that, after Emily’s death, she became the “genius loci” for the remaining family members (only her father, Anne, and Charlotte remained, Branwell having died six months prior). She seemed to me the genius loci of This Dark Night, as well, if it’s possible for a subject to haunt its own book. Because the book is largely constructed of the words of those closest to Emily about Emily, rather than Emily’s own words, we see her in the periphery, or view her from afar. I felt pleasantly haunted throughout my reading of this biography, and was surprised to find myself weeping as it closed. I am a writer, and frequent reader, of biography. The death of the subject is pretty much the one thing you can count on in the genre, but Lutz paces her book so well that Emily’s sudden death seems to happen as quickly on the page as it did in life. The shock of it—Emily refused medical attention and insisted on keeping her eyes open to “meet” her end—took my breath away.I learned more about Emily Brontë and her famous siblings from reading This Dark Night than I knew before. These facts stay with me and yet, the more I learned, the more distant Emily grew. It was as though the attempt to contain her or reduce her to acts or incidents or objects was to break up this person, who was always so evidently more than the sum of her parts, into her parts, and then watch the parts erase the whole. This is no fault of Lutz’s and is part of her book’s great success, since this seems to convey how her contemporaries felt about her. Emily Brontë is long dead. She can never be brought back to life, but we are haunted eternally by her, by the dictum she gave herself.“There is no Emily in Time or on Earth now,” Charlotte is quoted as saying upon her sister’s death, and we feel that loss as keenly today as Charlotte did then—or fool ourselves that we do, or Lutz fools us that we do. If Emily can die like any other, we all can. We all will. This should have left me bereft, or at least a little grim, but instead I was comforted, and reminded of the feeling I have whenever I visit the Brontë Parsonage in Haworth, specifically, and the Calder Valley more broadly, which I try to do every few years. It took me a long time to characterize this feeling, which is a meditative ecstasy that leaves me with a profound sense of well-being. Eventually, I just said it aloud, so here I go: When I am there, in the land that birthed and received Emily Brontë, I feel immortal. Not because of some delusion that I will never die, but because, paradoxically, I am aware that I absolutely will. And life will go on beautifully beyond me. If I am lucky, any small thing I’ve done or said will reach out to the living; maybe they will have a conversation with the dead, like this one, like Lutz’s. Maybe I will talk back. (Emily Van Duyne)
A new music video for "Sirens," from John Caird and Paul Gordon's Jane Eyre A Musical, celebrates the new Jane Eyre EP, Highlights From The UK Premiere Cast. [...]The new EP, from Westway Music, precedes the upcoming production of Jane Eyre A Musical at the Southwark Playhouse Elephant. Performances are scheduled to begin August 28 for a limited run through October 24.With music and lyrics by Gordon and additional lyrics by Caird, the EP also features the songs "Sweet Liberty" and "Secret Soul," both of which were performed by Burn and Gilmour earlier this summer at West End Live. The three-song EP is available to stream/download here.The recording has vocal and incidental music arrangements by Brad Haak and Steve Tyler, orchestrations by Larry Hochman and Haak, sound engineering by Ben Robbins, and mixing by Gordon. It is produced by Adam Blanshay Productions, David and Hannah Mirvish and Westway Music and published by Universal Music and ASCAP.In addition to Burn and Gilmour, the Southwark production will also feature Claire Greenway as Abbot/Grace Poole, Melad Hamidi as St. John/Lord Ingram, Connor Wood as John Reed/Vicar, Jonathan Andrew Hume as Brocklehurst/Mason, Izzi Levine as Agnes/Leah/Jane's Mother/Mary Ingram, Hannah Lindsey as Scatcherd/Bertha Mason, Isabelle Methven as Helen Burns/Bessie, Gemma Page as Reed/Fairfax, and Eve Shanu-Wilson as Blanche/Sophie with Poppy Jason as Young Jane/Adele and Emily-Rose Samuel as Young Jane/Adele.Caird and Broadway's Megan McGinnis will co-direct the musical, with choreography by Georgina Lamb, set and costume design by Morgan Large, sound design by Andrew Johnson, lighting design by James Whiteside, musical direction and supervision by Ben Kubiak, and casting by Sarah-Jane Price.The 2000 Broadway production of Jane Eyre was nominated for five 2001 Tony Awards, including Best Musical. (Andrew Gans)
The book that changed me as a teenagerI read Wuthering Heights when I was 12 or 13. Heathcliff fascinates me: enigmatic, brooding, never fully explained. Emily Brontë taught me landscape is character. The moors are a living force, mirroring Cathy and Heathcliff’s emotional lives. That shaped my writing: I’m drawn to unknowable characters and psychologically alive places.
Twin City Theatre Company brings Emily Brontë, Teenage Necromancer to Parkland College’s Second Stage Theatre. When a phantom haunts the Roe Head School for Girls in 1835, star pupil Emily Brontë and her sisters Anne and Charlotte must use their necromantic talents to uncover the truth in this gothic comedy of ghosts, fog, an undead goose, a lovesick spirit, and a talking meat pudding. The production runs through August 9. (Associated Press)
Jane EyreI've always thought Jane Eyre is remembered for the wrong reason. Yes, the romance matters. But Jane's refusal to compromise herself matters even more. That's exactly why the love story works. She chooses love without giving up who she is.
9. Wuthering HeightsAudience Score: 74%Critic Score: 57%Emerald Fennell’s adaptation of the literary classic was met with a 57% critic score, with many purists and reviewers balking at the modern sensibilities and controversial changes made to the source material. Audiences were much more enamored with the chemistry between Margot Robbie and Jacob Elordi, granting the film a 74% rating. Despite being shaded by critics, the general public enjoyed the bold, stylized take on the toxic romance, prioritizing entertainment value over fidelity to the book. (Leah Collins)
It’s an incredible song, and one where I cannot sing Bush’s high notes without stubbing my toe or something. The music video of her dancing makes me wish that MTV was still a thing and I could just spend my time watching fun music videos on cable television instead of battling stupid ads on YouTube. I wish Silicon Valley could invent a time machine. (Andrea Gutierrez)
Against EMI’s wishes, she insisted on releasing the haunting ballad “Wuthering Heights”—inspired by Emily Brontë’s 1847 novel of the same name—as the album’s first single.It was an early example of Bush seizing full control of her own career, and it certainly paid off.“Wuthering Heights” topped the UK and Australian charts, making her the first British woman to reach number one with an entirely self-written track. (Erinn Callahan)
Bush has continued to earn recognition for her extraordinary career, including induction into the Rock & Roll Hall of Fame in 2023. Yet nearly five decades after that remarkable debut, it’s still astonishing to remember that one of rock music’s most important milestones was achieved by a 19-year-old who simply believed the world needed to hear “Wuthering Heights” first. (Andrea Reiher)
If Austen and Brontë had a baby with Bridget Jones, she'd be Emma M. Lion. Super charming, super moreish, super short — 150~ pages each - this series has garnered a mega following for a reason. (Charley Vokoun)
Emily (Filmin)La más enigmática de las hermanas Brontë sigue siendo un misterio a día de hoy. ¿Cómo pudo aquella mujer soltera tan tímida y solitaria, recluida en una pequeña casa parroquial en los páramos de Yorkshire, crear una de las novelas más intensas y apasionadas de la literatura inglesa? Con la intención de responder a esa pregunta nace Emily. Es en esa lucha contra los límites de su vida familiar cuando comienza a anhelar esa libertad artística tan personal. Así comienza un viaje para canalizar su potencial creativo en una de las mejores novelas de todos los tiempos: Cumbres borrascosas. (Cristina Blanco Vázquez) (Translation)´
Dunque la Austen disse il vero, mentre per le sorelle Brontë bisognò aspettare al trono la regina Vittoria, moralista e bacchettona; ci voleva forse una regina così per l’ordito narrativo di Cime Tempestose, capolavoro intraducibile al cinema - ne saranno usciti, di film, venticinque e più. (Vincenzo Mazzaccaro) (Translation)
On this episode, Mia and Sam sit down with art historian and writer Eliza Goodpasture! Eliza has written the introduction to a new edition of Emily Brontë’s Wuthering Heights, illustrated by British modern artist Edna Clarke Hall.We take a look at the women studying at the Slade School of Fine Art in the 1890s and how Edna Clarke Hall's marriage influenced her obsession with Cathy and Heathcliff...
The Stars of Tomorrow program of the Twin City Theatre Company presemtsWritten by Don ZouidisDirected by Emily RittterJuly 31st-August 9th7 p.m. on Fridays and at 2 p.m. on Saturdays and Sundays.Parkland College Second Stage TheatreThis darkly funny and imaginative play reimagines the young Emily Brontë as a misunderstood teen with a flair for the supernatural. A celebration of creativity, rebellion, and the power of storytelling.
Further information on WCIA.
The Stars of Tomorrow program of the Twin City Theatre Company’s is debuting its next production this weekend.Director Emily Ritter and Producer Chm. on Saturdays and Sunandra Galloway came on The Morning Show to talk about their organization and to preview their upcoming production: Emily Brontë: Teenage Necromancer. The show will run on Friday, Saturday and Sunday for the next two weekends at Parkland College’s Second Stage Theatre.Performances will be at 7 p.m. on Fridays and at 2 p.days.
A sea of red gathered on the moors for a day of music, movement and literary celebration.A total of 500 people took part in 'Mass Wuthering' in Haworth on July 26, 2026, an annual event inspired by Kate Bush’s iconic Wuthering Heights music video.The gathering saw fans don red dresses and recreate the famous dance against the backdrop of the Yorkshire landscape that inspired Emily Brontë’s novel and Bush’s 1978 hit. (...)Ms [Clare] O’Callaghan said: "We had fans of Kate Bush, fans of the Brontës, and people from all over the world who wanted to share the joy of how literature and the arts can inspire and cultivate community."It really was a day of community and cohesion, and we’ve been overwhelmed by the brilliant messages we’ve received from people - and those we’ve seen posting on social media - saying it was one of the most memorable experiences of their lives."We all got drenched on Sunday thanks to the ‘Wuthering’ weather, but it didn’t matter at all - it made it even better and the atmosphere was brilliant." (Amelia Short)
While the latest adaptation of Wuthering Heights may have divided critics and audiences, the film starring Margot Robbie and Jacob Elordi helped put Yorkshire in the global spotlight.This was symbolised by a huge billboard in New York’s famous Times Square showing Robbie sitting on the Moors alongside a caption reading ‘It’s Not Wuthering Heights Without England’.The billboard was a small part of Visit Britain’s ‘Starring GREAT Britain’ campaign to boost international tourism to the UK which sought to highlight popular TV shows and films as a way of drawing visitors here.Visit Britain worked with international film and TV studios to target ‘high value’ international audiences in countries like the US, France, Germany and Australia and the Gulf.Patricia Yates, chief executive of VisitBritain, explained in the organisation’s most recent results that Wuthering Heights had played a central role in this year’s campaign.“Last year VisitBritain launched its ‘Starring GREAT Britain’ campaign,” she says. “This was the culmination of a monumental effort by VisitBritain teams across the globe who negotiated partnerships with nine studios to produce an incredible campaign platform on which to build.“In its first six months alone, the campaign generated an additional £217m in visitor spend.“Each extra pound represents a boost for the UK economy, a small business supported and a job sustained. The team has not lost momentum.“The release of Bridgerton Series 4 and Emerald Fennell’s adaptation of Wuthering Heights told a compelling story of regional Britain. VisitBritain secured new Wuthering Heights intellectual property for the campaign showing Yorkshire’s iconic moors and hosted media, buyers and influencers from around the world in Yorkshire. [...]While productions like All Creatures Great and Small and Wuthering Heights may be helping to give Yorkshire a wider international profile, there is still much to be done to keep the region’s hard-working tourism businesses deservedly centre-stage. (Chris Burn)
I ask Jenny [Hill, lead curator] to tell me how the cotton mill owner got hold of a folio in the first place. Jenny grins at her colleague Charlotte [Craig]. One theory is that it came from nearby Ponden Hall. Ponden had one of the largest private libraries not just in the West Riding, but in the whole of Europe. Charlotte has a theory about some of Ponden Hall’s close neighbours who might have used their library.“Well, Ponden Hall is just two or three miles across the moors from Haworth.”“Oh, no!” I gasp “From Haworth Parsonage, where the Brontë sisters lived?”“That’s right,’ says Charlotte. “I used to work there.”“Are you saying that the Brontë sisters might have read this copy of the First Folio?”“We know they used to borrow books from Ponden Hall. But I can’t prove they read this folio.”“Just say it!” I explode. “Let somebody else disprove it. Oh, that is fantastic. What about that!”James smiles wryly. He thinks I’m mad. Jenny and Charlotte very kindly took the folio out of its case and carried it upstairs for me to examine more closely. While they were doing so, I did a bit of research. I remembered a reference to a letter Charlotte Brontë had written to a school friend about Shakespeare. By the time Jenny and Charlotte had laid out the folio upstairs, I had found the letter online.Jenny points out that the folio is missing quite a few pages, and doesn’t have any of the Comedies. So I tell them about Charlotte’s letter dated 4 July 1834, to Ellen Nussey. “Ellen was her best friend at school,” Charlotte interjects.“If you like poetry let it be first rate, Milton, Shakespeare, Thomson, Goldsmith, Pope (if you will though I don’t admire him), Scott, Byron, Campbell, Wordsworth and Southey. Now Ellen don’t be startled at the names of Shakespeare, and Byron. Both these were great men and their works are like themselves. You will know how to choose the good and avoid the evil, the finest passages are always the purest, the bad are invariably revolting you will never wish to read them over twice. Omit the comedies of Shakespeare.”Omit the comedies of Shakespeare. And the Skipton copy has no comedies.“Perhaps Charlotte ripped them out,” Jenny laughs.“This just gets better and better,” I say. “Charlotte, you’ve got to get this story out there.”Once we have all calmed down a little, I tell Jenny that despite its now even more fascinating history, I think it might be the grubbiest copy of the First Folio I have ever seen. “Could you not say ‘grubbiest,’” Jenny grins. “Could you perhaps say ‘well-loved’?”The well-thumbed Skipton copy has become one of my very favourite copies of the First Folio, whether or not anyone can prove that the Brontë sisters ever read it.
Earlier this year, Emerald Fennell’s much-maligned, Mills & Boon-coded bonkbuster Wuthering Heights (2026) proved a great litmus test for how both film critics and film-industry tech bros have been failing to read the room. Fennell turned down Netflix’s $150 million distribution offer and its associated Faustian pact which demanded that the film go straight to streaming. Instead, she went for Warner Bros for $70-$80 million, with whom she got her theatrical release. On the day I watched Wuthering Heights in the cinema this February, Variety reported that it had already grossed $151.7 million worldwide against an $80 million production budget. This certainly wasn’t because it had been lauded in the press: the film was widely ripped to shreds by critics. Yet I can assure you that the much younger audience alongside which I saw it didn’t seem to care. It turns out that audiences are not brute forces capable only of liking or disliking, but sensitive instruments that might derive their enjoyment from camp, irony, strangeness, or the purely preposterous. (Sophia Satchell-Baeza)
When Cohen first walks out onstage, she is wide-eyed and holding a candlestick. Before long, she launches into her first song, “By the Sea,” a catchy tune that also helps to explain the Victorian aesthetic of both her costume and the set. (While working with scenic designer Derek McLane, Cohen was variously inspired by Wuthering Heights and images of Gothic palaces and sanatoriums on Pinterest.) “I always wanted to be the main character and the author and the lighthouse,” she tells the audience. (Alex Jhamb Burns)
‘The Chateau on Sunset’ by Natasha Lester“If you must get into trouble, do it at the Marmont,” reads the opening of this gothic novel set at the Chateau Marmont in 1950s Hollywood. It’s hard to imagine getting into good trouble these days at the Chateau — a relic of a bygone era. Thankfully our protagonist, Aria Jones, does it for us. A midcentury reimagining of “Jane Eyre,” the novel captures the feverish glamour and underlying chaos of the studio era, with each character proving more cunning and bewildering than the last. The result is a gothic tale with a distinctly Old Hollywood twist, paying homage to the enduring mystique of the Chateau Marmont. The dialogue is so taut and snappy, you’ll find yourself holding your breath. Madness, cruelty and difficult women are welcome bedfellows at “The Chateau on Sunset.” (Maddie Connors)
“Flirting is a woman’s trade, one must keep in practice.” (Charlotte Brontë, Jane Eyre)
LaSexta (Spain) posts about Wuthering Heights.
The sun may be hiding behind grey clouds, but for hundreds of people in flowing red dresses dancing on Yorkshire moorland it'll take more than a threat of rain to dampen their spirits.This is Brontë country, after all, so it's fitting that it's also perfect Brontë weather.The group, swaying in unison, have come together to re-create the music video for Kate Bush's 1978 song Wuthering Heights, inspired by Emily Brontë's novel.Every year, thousands of people around the world don red robes – and in some cases long black wigs – for The Most Wuthering Heights Day Ever.Events have previously taken place in places such as Sydney, Copenhagen, Berlin, Folkestone and Preston.This particular "Mass Wuther" perhaps has an even stronger claim than most – it's held on Penistone Hill, not far from the famous Brontë parsonage in Haworth, in the Pennines.From the field on a clear day can be seen the ruined farmhouse of Top Withens, believed to be the inspiration for the titular farmhouse of Brontë's novel. (Fiona Callow)
It’s a bitterly cold Dunedin morning when a bright red wave of Kate Bush lookalikes gathers in the Octagon to dance. By noon, the temperature is a brutal four degrees (feels like -0, according to the weather app), and as the winter sun peeks through the grey clouds above Dunedin’s city centre, the group of dancers dressed in red waits quietly. When the opening piano notes of Kate Bush’s song ‘Wuthering Heights’ burst out, they begin to move in unison, lifting their arms and waving them above their heads. As their crimson clothes blow in the icy wind, Bush sings the famous line that today takes on a new meaning: “Heathcliff it’s me, I’m Cathy, I’ve come home… I’m so cold.” (Tara Ward)
Or BBC in Bristol, Euronews, The Jonesboro Sun, The Adelaide Advertiser, Hello Rayo, in Folkestone...
For her debut album called The Kick Inside, Bush’s first official single was “Wuthering Heights.” Inspired by the classic novel of the same name by Emily Brontë, Bush wrote the track in the span of one night the year before, when she was just 18 years old.Still a teenager by the time the song officially came out, Bush’s music was an impressive success and a huge start to her career. In particular, “Wuthering Heights” gained a lot of fans.The song is a story told from the perspective of the character Catherine Earnshaw after her death, when she’s a ghost pleading with her former love, Heathcliff. Just like how she wrote the song in a few hours, Bush also recorded her vocals for the tune in one take.The mixing for “Wuthering Heights” took place over the course of one night as well, starting at midnight and going until around six in the morning. Music engineer Jon Kelly recalled working with Bush on the song. (Devon Forward)
6. Haworth, West YorkshireA steam train service arrives at Haworth in West Yorkshire, one of the most beautiful places in EnglandYou may not think that you know this Yorkshire town, but you’ve probably seen its steep street, which climbs up the valley of the River Worth, on screen. Haworth is popular with location scouts for film and TV, and many of its lugubrious millstone grit houses have become whimsical shops selling everything from hemlock candles and vintage dresses to “fat tyke” biscuits. The town has one foot in another era, especially when the steam locomotives from the Keighley & Worth Valley Railway chunter into its station. The Brontë sisters grew up in the parsonage at the top of the street — it is now a museum that details how claustrophobic and intense their upbringing must have been. Further uphill from the parsonage, the moors beckon anyone who wants to wuther a few heights. We’d recommend staying close to the Brontë parsonage in the thoughtfully renovated boutique guesthouse Weavers of Haworth. (Andrew Eanes)
Cumbres Borrascosas pertenece a ese linaje, y así se lee mayoritariamente: como una historia de amor imposible entre Catherine Earnshaw y Heathcliff, una pasión tan poderosa que ni la muerte logra extinguirla.Es una lectura legítima pero incompleta porque Emily Brontë no escribió solo una historia de amor. Escribió al mismo tiempo una novela de terror.El terror que Brontë explora es más moderno y perturbador que el terror gótico popular en aquella época: el miedo que puede causar la convivencia doméstica con alguien que nos odia. La diferencia esencial entre Cumbres Borrascosas y sus predecesores en el género del amor obsesivo es que aquí la pasión no se consuma ni se frustra en un instante glorioso: se pudre durante décadas, se transforma en rencor sistemático y aplasta a quienes tienen la desgracia de estar cerca. No hay ningún Romeo que muera joven y hermoso. Hay un Heathcliff que vive demasiado tiempo.La pasión de Heathcliff por Catherine es real e irreductible, y la novela la trata con toda su complejidad, tal y como veremos en el apartado siguiente. Frente a esto, lo que define a Heathcliff como personaje no es lo que siente por Catherine, sino lo que hace con ese sentimiento cuando la sociedad —y la propia Catherine— lo rechaza por su origen. Lo que comienza como un malentendido marcado por la confusión entre lo que Catherine siente y lo que cree que debe ser desencadena en Heathcliff un odio que se vuelve sistemáticamente contra quienes no tienen ninguna culpa: Isabella Linton, su esposa, a la que somete con crueldad calculada; y la segunda generación, a la que manipula y arruina sin remedio. (Read more) (Translation) (Eduardo Antuña Zarzuelo)
Wuthering Heights of Opulence. I visited the English region made famous by Wuthering Heights with old-fashioned villages and celeb-visited hotels. (...)Despite the changeable weather – one minute I’d be battered by gusts that pierced like kitchen knives, the next smothered in mist then bathed in sunshine – I instantly fell head over heels in love with the moors.Emily Brontë and her sisters Charlotte and Anne grew to adore these wilds, right on their doorstep.I hiked to ruined farmstead called Top Withens, said to have inspired Wuthering Heights the fictional home of Cathy.A further trek then took me to the Brontë Waterfall, Brontë Bridge, and Brontë Chair rock (in the shape of a seat), which were all places close to the sisters’ hearts.Back in Haworth, the limestone cottages and cobbled main street lined with gift shops, cafes and pubs had an old-fashioned charm.At the sisters’ old home, now the Brontë Parsonage Museum, I saw the simple wooden table where they used to write. (Fiona Whitty)
Nu Sass, a company that promotes marginalized genders in all aspects of theater, presents Courtney Bailey’s “Brontë Sister House Party” (Aug. 14-Sept. 12) at Van Ness on Main Street (4340 Connecticut Ave., NW). In life, the Brontë Sisters, Emily, Charlotte, and Anne, wrote their 19th century English lit classics in the virtual isolation of their father’s remote York parsonage. Now, stuck in purgatory, they’re suffering through party after party in an endless time loop. For them, hosting is truly hell, until they finally find a way to make it tolerable. (Patrick Folliard)
In conclusione, la citazione ci consegna una straordinaria meditazione sull’interiorità umana. Ci ricorda che siamo anche, e forse soprattutto, ciò che abbiamo sognato. Che non tutto ciò che conta deve essere realizzato per essere vero. Che alcune delle nostre trasformazioni più autentiche derivano non da eventi visibili, ma da visioni invisibili, che attraversano il tempo e noi stessi. Ed è forse proprio in questa alterazione silenziosa che si nasconde la vera poesia dell’essere. (Patrizio Lo Votrico) (Translation)
Times Now News compiles some beautiful and/or brutal love confessions in literature (with a lot of sloppy AI illustrations), quoting Wuthering Heights. AnneBrontë.org posts about when Charlotte Brontë quietly used her connections with publisher George Smith to help friend Harriet Martineau attempt a secret, anonymous return to novel-writing in 1851 — a book that was ultimately never published.
Theatre Caddis presentsby Eleanor ZealyJuly 24-25The Hope and Anchor, 207 Upper St, London N1 1RL, United KingdomIn a farcical and hilarious production, Jane Eyre fanatics gather to re-enact their favourite novel. Squabbles over the best lines and interpretations ensue. Real emotions and revelations are experienced as the attendees navigate Jane's rags to riches story.Optional audience participation. Unrealistic violence.Mild raunch.Bonnets.
The Jane Eyre Convention is an inventive, charming and genuinely funny piece of fringe theatre which celebrates both its literary inspiration and the wonderfully passionate people who adore it. Cleverly written, confidently directed and performed by a cast clearly having as much fun as the audience, it proves you don't need to know every page of Jane Eyre to have a thoroughly enjoyable evening. (Jack Stevens)
I was worried that Jordi Mand’s Brontë: The World Without (Rating: ✭✭✭✭) might not suit an al fresco production at Scarborough’s Guild Festival Theatre. After all, it’s pretty much entirely set in the West Yorkshire house that the literary sisters Brontë — Charlotte (Laura Del Papa), Emily (Hilary Scott) and Anne (Lara Lucia) — shared in the 1800s.But director Helen Juvonen’s sensitive staging, a trio of passionate performances and the solid classical columns of the GFT stage give the production a grandeur and airiness it lacked in its rather cramped premiere eight years ago at Stratford’s Studio Theatre. (...)I think I was a little harsh on Mand’s play when it premiered in 2018. It doesn’t want to show where the Brontë’s works came from — how could you begin to depict the genesis of Emily’s impassioned, unusual Wuthering Heights? But it does capture the sacrifice and hard work that goes into artistic creation, especially when, as a woman, you’re expected to do so much else. It also nicely illustrates the bond that connects the three sisters, who are each so different and intimately know each other’s insecurities. (Glenn Sumi)
Nu Sass Productions cordially invites you to the house party of the season, hosted by none other than the Brontë Sisters—Emily, Charlotte, and Anne, the famous writers of Jane Eyre, Wuthering Heights, and The Tenant of Wildfell Hall respectively. The Brontë Sisters are stuck in purgatory, suffering through party after party in an endless time loop, until they throw the best house party and reach The Point of Celebratory Reverence. For them, hosting is truly hell.Nu Sass presents Brontë Sister House Party, written by Courtney Bailey, which premiered at the St. Louis Shakespeare Festival in 2021 for the Confluence Regional Writers' Project, and was awarded the 2022 St. Louis Theatre Circle Award.
Elsewhere, death serves as an explicit expression of moral or religious purity. Think Helen Burns in Jane Eyre. (Claire Allfree)
I’ll never forget when, after reading and loving Jane Eyre, I read Jean Rhys’ Wide Sargasso Sea. If you’ve never read it, it focuses on Bertha Rochester before becoming Bertha Rochester. Rhys’ book not only gives her a different name, but an entirely full and rich history. In fact, Rhys was so furious about Bertha simply being the madwoman in the attic, she set out to write her a life. And I loved Wide Sargasso Sea for itself and for its intertextuality—how it existed on its own and in conversation with Charlotte Bronte’s Jane Eyre.
Another author, Amy Chozick, also chooses Wide Sargasso Sea as one of her favourite novels on Debutiful.
Between Promising Young Woman and Saltburn, Emerald Fennell has proven that her films are water-cooler conversation starters. This year, she took on Emily Brontë’s iconic gothic novel Wuthering Heights, with Margot Robbie as Cathy and Jacob Elordi as Heathcliff. Fennell faced controversy, with some fans accusing the director of whitewashing Heathcliff and oversexualizing the source material. Still, it's a feast for the eyes—and who can resist a score by Charli xcx? (Abby Monteil Contributions by Sadie Bell)
The Book: "I finished Eve Babitz's Sex and Rage while in LA and am about halfway through Wuthering Heights, so that will be coming with me to the UK and France."The Reasoning: "I’ve been really into pre-gaming my vacations by reading novels based on my next destination. I started it last year when I happened to read Patti Smith’s Devotion before going to Paris, and it made the anticipation of sitting at a Parisian cafe so much sweeter. A few months ago I picked up Deborah Levy’s The Cost of Living during a trip to London, and will be returning to the city with Wuthering Heights. I can’t say it’s a particularly relaxing read, but I am looking forward to being haunted by gothic literature while in London." (Tina Zhang)
Set in Sydney, Time Travel For Beginners centres on characters Anna, Jade and Teddy, each searching for answers in complicated lives, a quest that brings them to a nondescript shop called the Time Travel Agency. Here, customers are offered travel to wherever they wish in the past without altering the future in any way.Does meeting Charlotte Brontë walking on the moors sound interesting? Or seeing the construction of Stonehenge? Would revisiting their teenage self be intriguing? What moment in people’s lives would they travel to? And, how would it help them understand the present? (Lenny Ann Low)
The Most Wuthering Heights Day Ever in Newcastle Live.
Catherine Friend, The Lost Brontë (Bywater Books, August 18)In this Gothic-inspired novel about love and forgery in Brontë country, young Lilianne Loxley finds herself in service at the large country estate of Lord Bexton. She is devoted to the works of the Brontë sisters and is soon drawn into a conspiracy to write a ‘lost’ novel by Emily Brontë for Lord Bexton, a plot that can make or destroy fortunes. The house is haunted by lemon-scented ghosts and a portrait on the wall has eyes on her. Only the love of a housemaid named Wren disturbs her in a pleasant way. When Lily discovers a surprising connection between the Brontë family and Lord Bexton, she is forced to make dangerous decisions. You don’t have to be a Brontë fan to be drawn into the atmospheric story. (Queer Crime Writer)
Midway through Brontë: The World Without, three sisters clasp one another in what initially appears to be a passionate embrace. Look closer: they are actually wrestling. They chase and tug at one another, fighting over an envelope like rowdy, fussy children. Sibling love may last forever, sibling peace barely a heartbeat.That contradiction is the richest vein in Helen Juvonen’s final production as co-artistic director of Guild Festival Theatre. One of three sisters herself, Juvonen has chosen Jordi Mand’s domestic drama about perhaps the most famous siblings in Victorian literature, the Brontës. The result is an intermittently compelling family portrait that focuses on the fierce quarrels that can run alongside abiding tenderness. (...)One of the play’s most perceptive achievements is its layered portrait of the sisters’ relationship. In the Brontë household, rivalry and self-doubt live side by side — a tension most affecting in Anne. Overshadowed by her sisters and overlooked by critics, she carries the quiet pain of feeling herself the lesser talent. As Emily complains about hostile reviews, Lucia exposes Anne’s hurt with quiet, clear-eyed restraint as she quips in a puff of breath, “That’s better than being forgotten.”Juvonen’s farewell finds the human pulse beneath the literary legend: three women elbowing for room at the same table, set against one of Toronto’s most evocative backdrops. If downtown feels like a page crammed with noise and haste, this destination offers a change of edition. (Alessandro Stracuzzi)
‘Jane Eyre’Lone Star College-Tomball invites community members to attend its musical production of “Jane Eyre,” which tells the story of the governess’s life from childhood through adulthood. Tickets will be available for purchase at the door.Aug. 27-28, 7 p.m.; Aug. 29, 2 p.m and 7 p.m.Ticket prices TBD30555 Tomball Parkway, Tomball
Heather Caliendo: What are some of your favorite novels?MJ Soni: Jane Eyre by Charlotte Brontë: In my debut mystery, The Masala Chai Mystery Club, my protagonist, librarian Neeti Shah, is inspired by Jane Eyre. And that part is autobiographical. I read Jane Eyre when I was about fourteen, and it was life-altering for me. I was surprised at how independent Jane was, and shocked when she refused to marry Rochester when he made an unacceptable proposition to her. It was the first time I learned what true courage and agency really mean.
Her haunting cover of Kate Bush's Yorkshire-inspired Wuthering Heights was another standout moment, made even better when she led a call and response on who could do the spookiest callout to the moors beyond Halifax. (Jess Blissitt)
An AI recommends historical romances in BookClub, including Jane Eyre. Mental Floss list some of the authors included in Ernest Hemingway's personal library, including Emily Brontë. More local newspapers cover Most Wuthering Heights Day Ever events: TopSouth Now, Greenfield Recorder, Great Yarmouth Mercury, Eastern Daily Press. ..
Lucia plays Anne Brontë, alongside Laura Del Papa and Hilary Scott as sisters Charlotte and Emily Brontë. Told over five days spanning three years, the play unfolds entirely within the Brontë family home, and offers an intimate and unflinching account of the sisters’ artistic ambitions, their pseudonymous path to publication, and the sisterhood that carried them through both. The play illuminates how their experiences echo those of the heroines who live on in their beloved and much interpreted literary classics, including Jane Eyre, Villette, The Tenant of Wildfell Hall, and Wuthering Heights, not to mention the mythology surrounding the sisters themselves.Lucia came to the material with little prior knowledge of the Brontës. “I did all of that research over my audition” — but was quickly won over. What drew her in was not the sisters’ literary genius, so much as [Jordi] Mand’s insistence on their humanity. “They are geniuses. Of course they are. But they’re also real human people, with real human thoughts and struggles and doubts,” she says. That balance is especially pointed for Anne, who is usually overlooked because she lacks a towering masterwork like Jane Eyre or Wuthering Heights to her credit. Lucia found in the role of Anne a portrait richer than the historical record allows: “Jordi does such a beautiful job at bringing her dimension,” she says. “Even though she is the forgotten Brontë sister, she is anything but forgotten in this play.” (Arpita Ghosal)
As England’s largest county, you can expect Yorkshire to be a bit exceptional. It is England in miniature: high fells and moorland for wild walking; soft green valleys for timeless villages and sparkling rivers (waterfalls, too); a bracing coastline for family beaches and fossil-hunting; and rolling farmland dotted with romantic ruined abbeys and sprawling stately homes.Add to the mix a lively dollop of culture – a 500-acre sculpture park, David Hockney, moody Brontë country, museums covering everything from the quaint (toys) to the spectacular (trains) – plus one-off Yorkshire experiences such as steaming across the moors in vintage railway carriages, and everyone should be happy. (Helen Pickles)
But really she was Boudica. Issy had walked out into the fields in those kitten heels and that full look in some kind of Brontë-esque suicide attempt in the rolling hills of Hilles
Stepping inside Haworth feels like turning a page from a classic English novel. Not long ago, digital creator and travel vlogger Farida dropped a video on Instagram, offering glimpses of the charming village. Cobbled streets, stone cottages, rustic bookshops, hazy lamposts and cosy tea rooms dominate the region, where every nook and corner feels like you have stepped back in time. One can also enter the Gothic churches that feel hauntingly beautiful.Literary enthusiasts can visit the famous Brontë Parsonage Museum, where one can witness Emily's mahogany writing desk and Charlotte’s rare miniature books, original manuscripts, and personal letters. Visitors can stand in the dining room where Wuthering Heights was penned, surrounded by the family’s original furniture, clothes, and hauntingly preserved Victorian rooms.Those looking for some adventure can hike through the wild moorlands to the atmospheric ruins of Top Withens, a ruined farmhouse widely believed to be the setting that inspired the desolate Earnshaw home in Emily Brontë's novel. Continuing with the vintage journey, you can board an authentic steam train on the Keighley & Worth Valley Railway. This 5-mile heritage line winds directly through Brontë country, stopping at Haworth’s beautifully restored Edwardian station. (Trisha Dey)
Kelly Creagh named one of her dogs Annabel, after the dead girl in Poe’s last great poem, which tells you roughly everything about where her imagination has spent the last fifteen years. The Nevermore trilogy dragged a cheerleader into Poe’s dreamworld. Phantom Heart rebuilt Leroux’s opera house as a teenage nightmare. Strange Unearthly Things sent three psychics into a Jane Eyre that bled. Across all of it, Creagh borrowed dead authors’ scaffolding to write about grief, duality, and the self we keep in shadow. (Jim McLeod)
There’s a pivotal scene in Wuthering Heights where Heathcliff overhears part of a conversation – the bad part – between his beloved Cathy and the servant Nelly Dean, but has fled in a rage by the time she’s saying the good part.Luckily, some of us are not so hot-headed. Last Sunday morning, after buying my copy of the Sunday Independent, I sat into my car and turned on The Pat Kenny Show on Newstalk just as Kenny was introducing the items on his show. These were the first words I heard him saying: “President Trump has died suddenly.”Now, if I had done a Heathcliff on it, I would of course have been devastated to hear this news, given what a great job Donald Trump is doing. I would have been inconsolable at the loss of his enlightened leadership. I might even have switched off the radio and wept.For about five seconds, my head was spinning at the incalculable significance of this news. Forget about a clunky plot device in Wuthering Heights. Whole movies have been made about such moments, as a character’s life flashes in front of him – a process that spins out for about two hours in the cinema.But something told me that I had only heard the “bad” part, as it were. That there was perhaps more to this than the statement I’d heard from Kenny.Indeed, given the president’s many enemies, one might have expected that the celebrations of his sudden death would have started already. That cars would already be tearing down the street with their horns blaring at the “good” of it all.Sure enough, the Newstalk “listen back” facility revealed that Kenny’s full sentence went like this: “Lindsey Graham, sometime foe but then staunch ally of President Trump, has died suddenly.” (Declan Lynch)
Poets and artists, living and dead, populate the trilogy. Bianchi is not settling scores so much as searching for her place among them. What is poetry in the face of violence, not violence as metaphor, but violence as lived experience? Some figures, particularly the grand metteurs en scène who occupy the pantheon of the Festival d'Avignon, are treated with satirical irreverence while remaining, despite everything, aspirational. Others (Sarah Kane, Emily Brontë, Emily Dickinson) become something like secular saints. Bianchi inhabits their characters, weeps before their portraits as though before religious icons, and clings to their writings like relics. (Wesley Doucette)
Nevertheless, some readers may still be tempted to pick up a copy of “Indiana”, “Lélia” or “Mauprat” after they have finished “Becoming George”. For Ms Sampson lays out just how many admirers Sand had, including the Brontë sisters, Fyodor Dostoyevsky and Marcel Proust. Gustave Flaubert, who exchanged letters with Sand for many years, addressed his fellow writer as chère maître (dear master).
Friday, Jul 17 2026, 2:00pm - 4:00pmCommunity Room (2nd Floor), NoBo LibraryDo you love the Brontës? Would you like to learn more about them and discuss them with fellow enthusiasts? Come celebrate our favorite literary sisters with light refreshments, trivia, crafts, and more! Period dress and/or fantastic hats encouraged but optional.
Unless explicitly said
