Catherine Bennett resumes the weekly look at the performing arts world, with the sad end of Jerusalem, the luck of a cabbie, and French revolt. Do you hear the people sing?
Adam Alcock reviews Nigel Kennedy playing Vivaldi's Four Seasons and his own Four Elements at York Opera House.
Catherine Bennett highlights the trends in the performing arts world today.
Jonathan Cridford reviews 'Ghosts', one of the Freshers' plays for this year.
Sue Dunderdale uses minor on-stage costume adjustments (such as the putting on and taking off of aprons) to cleverly and seamlessly signify a change in character. The Earnshaws’ maid, Nelly Dean (Kate Ambler), though she is a main character, is not the only narrator. Each of the actors plays the narrator at some point, the dynamism of which adds pace to a story which at some times can be rather confusing.
The story begins when old man Earnshaw (Marshall Lancaster) brings home Heathcliff (Joel Fry), a small gypsy child, who is to be raised alongside his own children, Catherine and Hindley (Jessica Harris and Nick Figgis). Catherine, unlike her brother, warms to him immediately. Her relationship with Heathcliff blossoms, until she meets Edgar Linton (Marshall Lancaster). He is much more refined than Heathcliff, and panders to Cathy’s every whim. She marries him, but for all the wrong reasons; her heart belongs to Heathcliff.
Heathcliffe's dark brooding presence, inseparable from that of the moors, overshadows this story completely.
Upon learning of Cathy’s true feelings, Heathcliff disappears from Wuthering Heights for some time, presumably in search of the education and refinement he hopes will win Cathy’s heart. Upon his return, however, he finds he cannot have Cathy, and swears in his heartbroken rage never to forgive her this betrayal. Heathcliff’s revenge forms the body of the play, a revenge which lasts decades, and his bitterness characterises him until death.
The aptly named Heathcliff is an embodiment of the moors themselves, and all the wild untamed force they contain. It is no wonder, therefore, that his dark brooding presence, inseparable from that of the moors, overshadows this story so completely. Cathy and Heathcliff’s happiness lies on the moors; like Brontë, who hardly left her home except to escape to the moors, part of their souls remain there, even after death. Thornton manages to keep this presence on stage, albeit with some rather fanciful, yet eerily frightening strobe lightning and recorded thunder.
One of the things that makes Wuthering Heights so endearing, and consequently ideal for the stage, is the universality of its themes. It’s a tale of betrayal, deceit and destructive love. At first it’s a bit difficult to take it seriously because of all the melodrama, but once you get over that, the play has a lot more to offer. In an interview for the Theatre Royal, Thornton describes Brontë’s greatest work as “very much a working class novel” – a better description I cannot find. Basically, Wuthering Heights has a little bit of something for everybody. If you fancy an engaging dramatisation of English classist social structure, then there is plenty of food for thought. If you just fancy the dramatic equivalent of 19th century Dawson’s Creek, then this is the perfect show for you.
Wuthering Heights runs at York Theatre Royal until 23rd June, Student tickets are £5 and can be purchased from www.yorktheatreroyal.co.uk or by phoning the box office on 01904 623568.
