Powerful and memorable take on classic Bronte tale in lovely setting

Midnight Circle Productions presents Wuthering Heights
Remenham parish hall
Sunday, July 28

IT is very fitting that a story like Wuthering Heights, so much about nature and landscape, should be performed in the open air.

We were lucky enough to see the Midnight Circle production on a sunny afternoon in the tranquil walled surroundings of Remenham parish hall.

The loud birdsong may have been part of the sound effects but the butterflies, red kites and fluffy clouds were very real.

The tempestuous love affair between Cathy and Heathcliff has become almost the stuff of legend but Emily Brontë’s novel is more than a romance.

This version has been devised jointly by members of the cast and expertly directed by Nicholas Benjamin. The production draws out well-chosen episodes from a complex plot and, to my surprise, finds entertaining humour in what is generally considered to be a dark tale.

The story unfolds in conversation between housekeeper Nelly Dean (a winningly grounded Jacqueline Johnson) and visitor Mr Lockwood (Nicholas Benjamin).

The action opens playfully with a song under the musical direction of Miles Blanch.

Wild child Heathcliff is played by a very strong Renny Mendoza; we warm to him initially but Mendoza becomes an increasingly menacing presence.

Oscar Mackie is hugely impressive as Cathy’s boorish brother, Hindley, who is hostile to Heathcliff and bullies him mercilessly.

A lively Niamh Handley-Vaughan plays Cathy Earnshaw, who, though a close companion of Heathcliff, decides to marry Edgar Linton. Edgar is no match in passion for the stormy Heathcliff but Miles Blanch’s portrayal makes him likeable and foregrounds his awkward sincerity.

Edgar’s sister Isabella is played by Nadia Lamin, light and mischievous to begin with, but increasingly desperate as she falls under Heathcliff’s malign influence.

The intense events and emotions of the novel are rendered heartbreakingly real and raw when watching flesh and blood actors arguing, suffering and weeping right in front of your eyes.

Yet the Gothic elements are retained through simple but effective theatrical effects.

Tracey Collier has choreographed dreamlike — or maybe nightmarish — movement. A story about death as well as love includes spectral presences, chillingly clad in grey shrouds.

Masks and ritual speech create the impression, at times, of a Greek chorus. Imaginative use is made of a simple rope to mark out spaces but also to represent the ties and restrictions the characters experience.

Sombre drumbeat emphasises solemn events. Frock coats and empire-line dresses conjure up the Regency period perfectly.

Among all the sadness, there is hope for the future in a new generation, even if these children were born in unfortunate circumstances.

Hareton Earnshaw (a convincing Sam Bird) is rejected by father Hindley because his mother died in childbirth.

However, he finds happiness with the daughter of Catherine and Edgar and Lara Deering brings great energy and spirit to her role as young Cathy.

Bravo for a powerful and memorable piece of theatre in a lovely setting.

Susan Creed