‘Brontë’ review
‘Contained in this play is a world of constrained Victorian womanhood explored to its most poignant limit; no more can be asked of it than that.’
In Brontë, history’s favourite family of the Gothic unravels as we are shown a beautifully crafted domestic drama intermingling with the weight of literary legacy. Third Space Theatre gives us a production which excels at balancing these two competing elements of the play. Here, purposeful design choices complement the artistic direction that captivates the audience, regardless of their attention to contextual references. It is made for universal enjoyment and is most successful when production heightens the tension between literary expectations and the drab Victorian domesticity. Immediately, we are immersed in a history where writing becomes a means of retreat for the sisters, and this internal drama is perfectly conveyed by poignant acting and effective directorial choices.
Director Grace Graham and Production Manager Zac Jackson stage a performance that cleverly manages the interplay of domestic drama and literary grandiosity, particularly regarding set design. The homely setting, consisting of standard living room furniture, is transformed by the creative anglings of character expression which exploit the richly developed environment. Intimate exchanges take place in each corner of the room, with every chair and table becoming key features of an emotional moment at least once throughout the play. Even the passive act of sitting down and reading a letter is made eye-catching, as the actors achieve superb characterisation through any means other than exaggerated physical action.
Interactions between the three sisters are entirely deserving of their central importance in the plot. One of the prime joys in watching this play is being witness to a family squabble that exercises a full range of complex emotions on the trio. Milly Hale as Anne, Martha Buttle as Emily, and Peony Reece as Charlotte serve as impeccable leads in what becomes a faithful rendition of their historical personalities. It takes unique skill to demonstrate their level of tonal control, with varied interpretations of behaviour in letter-reading, familial dispute and in the fantastical actualisation of their fiction into the domestic setting. Regarding the latter, Olivia Saunders (multi-rolling as Cathy and Bertha) brings a fantastically melodramatic atmosphere to every scene she infiltrates.
This is furthered by intelligent lighting and sound design that enhance the intrusion of fantastical elements into an otherwise realistic setting. Jake O’ Donnell’s talent, present in the deep-voiced authority on display in Patrick Brontë, is later developed by a convincing shift into Rochester. A much-needed comic formality is introduced by Matthew Lo as the tutor Heger, whereas Jack Guilfoyle expertly renders Branwell a pitiable, and eventually sadistic figure. Ultimately, a narrative this dependent on adjustment to historical characterisation is lucky to have a cast so adept for the task.
Durham’s theatrical community benefits from a production like this, whereby the standard is set for intensely devised stage composition that works towards a unified dramatic effect. In this case, both acting and directorial skill perfectly immerse viewers in Polly Teale’s rendition of the Brontë family drama. Contained in this play is a world of constrained Victorian womanhood explored to its most poignant limit; no more can be asked of it than that.
By Ivan Deverick.