Tag Archives: Recommended Show

WUTHERING HEIGHTS

★★★★

Crossrail Place Roof Garden

WUTHERING HEIGHTS at the Crossrail Place Roof Garden

★★★★

“almost Shakespearian at times in the rhythm of the language yet peppered with modern profanities and anachronisms”

One always admires companies who tackle outdoor shows in the UK. They are always risky undertakings, what Oscar Wilde would describe as a ‘triumph of hope over experience’. The evocatively titled Midnight Circle Productions don’t shy away from the challenge as they take their devised adaptation of Emily Bronte’s “Wuthering Heights” around some of England’s most beautiful castles, manor houses and gardens.

As part of the tour, they have shored up in the West India Docks for two nights at the Crossrail Place Roof Garden in Canary Wharf. A haven of exotic plants and hidden pathways that lead you to the small amphitheatre that, in partnership with The Space Theatre, offers free events throughout the summer months. Asian bamboos to the left, ferns from the Americas to the right, the walkway follows the Meridian line, but it never quite feels like you have escaped the city. An artificial sheen hangs in the air, matched by the rather unatmospheric theatre space you eventually stumble upon. Planes, trains and automobiles provide much of the soundtrack while a featureless wall provides the backdrop.

The cast rise to the challenge and, although not always projecting as strongly as is necessary, they hold our attention throughout with their retelling of the Brontë classic. Told with wonderful clarity and constancy, it stamps its own individuality by allowing the characterisation to fill the spaces in the framework of the text. Director Nicholas Benjamin’s semi-improvised approach lets everyone take a writing credit. The result could be chaotic but here the narrative is a mix of soap opera and classical prose; almost Shakespearian at times in the rhythm of the language yet peppered with modern profanities and anachronisms. The fluctuating tempo of the staging is led by offstage percussion and sporadic bouts of music that tentatively wander into the playing space. An underused squeezebox shyly underscores while an under amplified guitar accompanies the folksy song interludes.

The story unfolds in flashback as Nelly (Jacqueline Johnson) relates it to Lockwood (Nicholas Benjamin), the new tenant to gruff, eccentric Heathcliff – the landlord of the remote Wuthering Heights. Transported back thirty years, Lockwood learns the backstory to the two families (the Earnshaws and the Lintons) and their turbulent relationships with the Earnshaws’ adopted son, Heathcliff. While the production doesn’t quite capture the Romanticism and the Gothic heart of the novel, it certainly draws attention to the cruelty, both mental and physical and the challenging issue of abuse, class and morality. Renny Mendoza’s Heathcliff is a rather unremitting thug, who sulks and shouts his way to his pitiless end, though a charismatic presence, nonetheless. Oscar Mackie’s Hindley Earnshaw, despite being the archetypal bully, fares better in the sympathy stakes. Less a drunkard, Mackie plays the alcoholic with a modern sensitivity. A similar modernism is given to Catherine Earnshaw (Niamh Handley-Vaughan) and Isabella Linton (Nadia Lamin). Both Handley-Vaughan and Lamin keep victimhood at bay with their strong portrayals of the tragic women.

The strengths of this show, however, are often lost in the surroundings. Subtle sound effects (of ghosts or of a wrenching cry) created by the company members themselves had to compete with layers of traffic and streams of curious, often vocal, onlookers. We are more than tempted to follow the play to its next location to feel the full impact of the performance – one full of respect for the original, but not afraid to give it a bit of a shake.

 


WUTHERING HEIGHTS at the Crossrail Place Roof Garden then tour continues

Reviewed on 24th July 2024

by Jonathan Evans

Photography by Roj Whitelock

 

 

 

Top shows this month:

GLITCH | ★★★★ | Minghella Theatre | July 2024
CARMEN | ★★★★ | Sadler’s Wells Theatre | July 2024
SKELETON CREW | ★★★★ | Donmar Warehouse | July 2024
BARNUM | ★★★★ | Watermill Theatre Newbury | July 2024
MEAN GIRLS | ★★★★★ | Savoy Theatre | July 2024
SH!T-FACED A MIDSUMMER NIGHT’S DREAM | ★★★★ | Leicester Square Theatre | July 2024
HELLO, DOLLY! | ★★★★ | London Palladium | July 2024
THE IMPORTANCE OF BEING EARNEST | ★★★★ | Reading Abbey Ruins | July 2024

WUTHERING HEIGHTS

WUTHERING HEIGHTS

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THE IMPORTANCE OF BEING EARNEST

★★★★

Reading Abbey Ruins

THE IMPORTANCE OF BEING EARNEST at  Reading Abbey Ruins

★★★★

“a wonderful adaptation of the Wilde Classic in a uniquely atmospheric setting”

The wit of the famed Irish playwright sparkled in the evening sun in this outdoor production by Progress Theatre. In the shadow of the gaol in which he was incarcerated for ‘the love that dare not speak its name’ well known Wildean epigrams bounce off the walls of the former Reading Abbey’s chapter house. We all know and relish Lady Bracknell’s (Caroline Warner) pronouncement on the ‘carelessness of the loss of two parents’, her astonishment at the receptacle in which the infant Jack Worthing (Chris Westgate) was found or the ‘immateriality of the line’ on which he was found and her daughter Gwendolen Fairfax’s (Stephanie Ness) declaration of the ‘sensational reading to be found in one’s own diary providing entertainment on a train journey’. However, the cast and director (Steph Dewar) highlighted many others including ‘The truth is rarely plain and never simple’, ‘All women become like their mothers. That is their tragedy. No man does, and that is his’ and ‘The good ended happily, and the bad unhappily. That is what fiction means.’ 

The simplistic but effective setting covering the three acts in the town house of Algernon Moncrieff and Jack’s Hertfordshire estate works well within the historic setting; despite my initial misgivings that this ‘drawing-room comedy’ might be lost in the expanse of the outdoor venue. Costumes (Wendy Hobson and Chris Moran) and the required minimum of furniture and props provide the period elegance to anchor the production in its mid-1890s setting. The skilful interval split, mid Act II, works well to keep the pace racing along towards the conclusion.

Hindered in his attempts to keep his two worlds from colliding by the intervention of his friend Algernon, played with bubbling mischievousness by Matthew Urwin, Jack finally resorts to ‘killing off’ his fictional miscreant brother Earnest, who by continually misbehaving ‘in town’, provides Jack the perfect excuse whenever he needs to escape from the country. Algernon, who also has a fictional reason for leaving town to visit the country, in turn becomes enamoured with Jack’s young ward, Cecily Cardew (Nancy Gittus). Prepared to sacrifice their double lives for the love of Gwendolen and Cecily both men stride haphazardly forward to discover the importance of being ‘Earnest’.

Between the two young women a bond of ‘sisterhood’ is quickly reached and equally quickly ripped asunder on their first meeting. Only to be restored on finding themselves both to have been misled by their suitors. The speedy change is achieved with excellent precision and hilarity from Ness and Gittus. Ness is easily recognisable as the daughter of Warner’s Lady Bracknell both in mannerisms and speech. She deftly uses the dialogue to create a believable character of a young woman of society used to getting her own way. Whilst Warner’s approach to the notorious ‘handbag’ line of Lady Bracknell is to expertly underplay it with effective emphasis of shock and outrage at the presumption of Jack expecting her daughter to ‘marry into a cloakroom and forge an alliance with a parcel’.

In juxtaposition to the slightly smug and sarcastic Moncrieff and increasingly vexed and frustrated Worthing, the Rector of the Hertfordshire estate, Dr. Chasuble (Paul Gittus) and Cecily’s tutor, Miss Prism (Liz Paulo), provide a simmering, sublimated sexual tension to great comic effect. They, along with Algernon’s manservant, Lane (Dean Stephenson) and Jack’s butler, Merriman (John Goodman) who both portray with few words and a good many telling facial expressions the knowing yet rather put upon non-leisured-class, provide excellent comedic cameos in counterpoint to their erring employers.

Progress Theatre have produced a wonderful adaptation of the Wilde Classic in a uniquely atmospheric setting.


THE IMPORTANCE OF BEING EARNEST at Reading Abbey Ruins

Reviewed on 19th July 2024

by Thomson Hall

Photography by Aidan Moran

 

 

 

 

 

Previously reviewed at this venue:

HENRY I | ★★★★★ | June 2023

THE IMPORTANCE OF BEING EARNEST

THE IMPORTANCE OF BEING EARNEST

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