Review by Tim Garratt
First published in 1847, Wuthering Heights was Emily Brontë’s only novel. Today, this Victorian romance, fusing Gothic and Romantic elements, has a firmly entrenched place among the classics and has been the subject of numerous film and theatre adaptations.
In 2021, a new stage adaptation of Wuthering Heights was staged in the UK, adapted and directed by Emma Rice. This production has since toured the US and is now playing an exclusive and limited season in Sydney at the Roslyn Packer Theatre.
Like its source material, the show is set in the Pennine Moorlands of West Yorkshire, England in the second half of the 18th century and focuses on the occupants of an old home. The owner, Mr Earnshaw (Thomas Fox) lives at Wuthering Heights with his two children, Hindley (Matthew Churcher) and Catherine (Stephanie Hockley). On the streets of Liverpool, Mr Earnshaw encounters a young orphan boy, who he decides to call Heathcliff and raise as his own (Heathcliff’s past and origins remain a mystery throughout).
Heathcliff (John Leader) is well cared for by Mr Earnshaw and quickly forms an inextricable bond with Catherine. But after Mr Earnshaw’s death, Heathcliff finds himself the victim of terrible cruelty by Hindley, and his relationship with Catherine becomes complicated by her growing affection for Edgar Linton (Sam Archer), the owner of the impressive neighbouring estate, Thrushcross Grange.
These events mark the start of a perpetually downward spiral. At the centre of the narrative is Heathcliff, intensely embittered and increasingly nihilistic, who takes revenge on those who have wronged him (and even their offspring). Unsurprisingly, he also destroys himself in that process.
Brontë creates a dark and cruel world in Wuthering Heights, where the damage done to its inhabitants is profound. But in a rather audacious and edgy adaptation of the novel, Rice injects humour into the narrative and works to leave us with a sense of hope that the cycle of cruelty does not have to continue, that good can prevail if the desire to break from it is genuine. After watching characters go scorched earth for two hours, this provides a modern perspective where redemption is possible.
While giving Wuthering Heights a fresh flavour, Rice’s interpretation remains largely faithful to Brontë’s text. She’s made an inspired choice by casting the Moors as the story’s narrator, represented in the guise of a Greek chorus (led by Nandi Bhebhe). This device works well, and Bhebhe is an asset to this production.
The show includes several original folk-rock songs by composer Ian Ross, which beautifully underscore the action and the almost-otherworldly environment Brontë envisaged. At the outset, ‘I am the Moor’ is a stirring scene-setter. ‘Bluebell’ is another number that features early on and has a gorgeous melody that leaves an impression. We’re treated to a wonderful rendition of Ross’s score by a small band, led by musical director Sid Goldsmith.
Vicki Mortimer’s simple set successfully locates us in the Moors, while costumes are appropriate for each character and effectively convey the higher social status of the Lintons as compared to the Earnshaws. Puppets are also well utilised.
One of the greatest strengths of this touring production is its excellent cast. Leader is in particularly fine form as the antihero Heathcliff; he has a compelling presence and completely embodies this enigmatic and eventually sadistic and fearsome character. Even so, he’s one of Brontë’s most sympathetic characters, given how acutely aware we are of the fact he’s a product of his circumstances. His story foregrounds the destructive (and, unfortunately, still pervading) fear of the other in society.
Hockley’s portrayal of the strongminded, free-spirited and brattish Catherine is similarly impressive. Her Catherine and Leader’s Heathcliff feel palpably bonded; it’s easy to believe the two are kindred spirits. Hockley is strong in song, too (in fact, her beguiling vocal performances were over too quickly for this reviewer).
Clocking in at close to the three-hour mark, Rice’s production is perhaps too long and could be enhanced by some smart edits to shorten that runtime. Overall, though, this is an engaging, reverential and lovingly crafted treatment of a classic, performed by first-class actors and musicians. It serves as a good introduction to Brontë’s odd world of characters and a satisfying refresher for those with an affinity for the text.
Wuthering Heights is playing at the Roslyn Packer Theatre until February 15. For more information and to purchase tickets, visit www.wutheringheightsaustralia.com
Photo credit; Steven Tanner (original UK cast photos)