This stage adaptation of Wuthering Heights is one of those productions that provoke wildly differing reactions.
Many will applaud it as a brave, genre-defying work, in which British director Emma Rice brings new life to an old tale.
More jaded eyes could see it as a competent but somewhat dated affair – a postmodern theatrical ‘remix’ of the kind Australia’s Baz Luhrmann was doing in film and on stage decades ago.
There are some who would consider it a theatrical dog’s breakfast: a discordant amalgam of play and musical, rock concert and theatre, drama and comedy.
But one thing this take on Emily Brontë’s classic novel won’t do is leave people feeling dispassionate. There’s far too much going on for that.
First performed at Bristol Old Vic’s Theatre Royal in 2021, this Wuthering Heights has toured the UK and US and had a run of dates in Amsterdam before landing in Sydney. It’s largely the same show that debuted in England, with many of the original performers reprising their roles.
Anyone who’s read the novel will recognise the tale in the opening scenes. From this point, the story veers somewhat from its well-worn path, becoming more fantastical and outlandish than Brontë’s original ghost story. For example, instead of Lockwood (Sam Archer) asking his housekeeper to tell him what happened at Wuthering Heights, he asks the Yorkshire Moors themselves. Moreover, they reply – and keep communicating to the end.
Further surprises await. Drama gives way to dancing, modern rock songs punctuate the Gothic gloom and the tale of two tragic lovers is liberally peppered with jokes.
It has an appeal, especially at first, but at some point, it starts becoming a little tiresome. For the live music aspect to really work, the songs have got to be great, not just passable. The repetitive refrain isn’t strong enough to function as the musical backbone of an almost three-hour show.
There is also a sense of trying too hard to be different. A self-consciously ‘edgy’ approach to the source material is evident throughout.
This extends to the set. The rollaway backdrops constantly moving around; chairs stacked high upon each other, in an off-kilter way, for no discernible reason (what’s with all the chairs in this production?); the appearance of puppets at one point for … well, apparently, just because.
But there are positives – and some moments are great. When the soundtrack reaches its apogee and Catherine (Stephanie Hockley) goes full rock goddess, with wind in her hair and a mic drop, it’s electrifying.
The cast are triple or even quadruple threats: all acting, dancing and singing, with T J Holmes (who plays Doctor Kenneth and the Moors) also playing the cello.
Nandi Bhebhe as Leader of the Moors is fantastic. With flawless acting, a powerful voice and huge charisma, she almost steals the show.
Archer as Lockwood/Edgar Linton/the Moors is another standout, especially for his physical dexterity; Robyn Sinclair excels as Frances Earnshaw/Young Cathy/the Moors; and John Leader has a gruff, brooding presence perfectly befitting the character of Heathcliff.
Wuthering Heights is a convoluted tale. Between this fact and the doubling or even tripling up of roles for the actors, this adaptation could easily become confusing. Rice addresses this by having them carry blackboards with character names written on them in chalk as they enter the show. Said blackboards are also used to proclaim deaths (and there are many deaths in Wuthering Heights).
It’s an effective device although whether it’s cringeworthy and a bit lazy or charming and quirky is up for debate.
In that way, the blackboards are a good metaphor for the show and its capacity to elicit very different responses (perhaps even within the same person).
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At the end of the opening night performance, there were standing ovations, with some attendees applauding madly. But many remained down, clapping politely from their seats. Some sat with arms crossed after brief, perfunctory clapping, while a few walked out sans applause. There were no curtain calls.
In the theatre, it’s said that audiences don’t lie. This audience was right on the money.
Wuthering Heights, based on the book by Emily Brontë
Roslyn Packer Theatre, Walsh Bay, NSW
Director and adaptor: Emma Rice
Composer: Ian Ross
Set and costume designer: Vicki Mortimer
Sound and video designer: Simon Baker
Lighting designer: Jai Morjaria
Movement director and choreographer: Etta Murfitt
Associate choreographer: Nandi Bhebhe
Puppetry director: John Leader
Fight director: Kev McCurdy
Music director: Pat Moran
Associate director: Laura Keefe
Costume supervisor: Anna Lewis
Wigs and hair supervisor: Fay Lumsdale
Band: Sid Goldsmith, Alex Lupo, Renell Shaw
Cast: Sam Archer, Nandi Bhebhe, Matthew Churcher, Rebecca Collingwood, Frederick Double, Stephanie Elstob, Tom Fox, Stephanie Hockley, T J Holmes, John Leader, Robyn Sinclair
Tickets: $32 to $159.90
Wuthering Heights will be performed until 15 February 2025.
