Many a story has been set on the English moors, and many more lives than that have been lost to their wily ways. Images of swirling mist and fog floating across endless plains conjure feelings both of unease and morbid curiosity. The moors are wild, and all bets are off.
American playwright Jen Silverman’s The Moors is a new tongue-in-cheek rendition of that gothic Victorian romance. Think the Brontë sisters, but if they had had any power to flip the gender stereotypes of their time.
Emilie has arrived at the house to take up a governess post, lured by letters from Agatha, the cruel and stern eldest sister who has pretended to be her brother Branwell in her correspondence. Huldey, the excitable diary-writing younger sister is thrilled that another person is here to break up the lonely monotony. But Emilie soon realises something is not right. There’s even something wrong with the animals…
Kate Gaul has designed and directed this fascinating, macabre, quirky little show. It’s moody and grotesquely compelling, with a clever revolve utilised fabulously by all.
Romy Bartz is a perfect Agatha, austere and intense and utterly magnetic. Enya Daly is both an endearing and frightful Huldey, balancing stunningly on a knife’s edge of girlish charm and savage jealousy. Diana Popovska’s performance of the maids Mallory/Marjory/Margaret alternatively is weird, wild and wonderful. She alone has perhaps fully realised the grotesque and darkly comic style of the piece.
It’s a slick production, with the revolve being used to full effect. Composer Nate Edmonson puts his signature grandiose style to the sound, with epic orchestral compositions thwarting us throughout. Lights by Fausto Brusamolino create an appropriate dreamlike (or should that be nightmarish?) state, and Eva Di Paolo’s costumes keep us firmly rooted in the seductiveness of the Victorian era.
The Moors is a darkly comic exploration of womanhood. It’s a reversal of roles, a queer celebration of women in a world that sought to restrict and condemn them. They may still be laced and corseted, but they are in control. At a time when they were good for nothing but playing piano and making babies, Silverman has put them in control of their destinies, flipped sexist literature on its head and empowered her women. As long as they can stay alive to enjoy it, they’ll be fine…
Alana Kaye, Theatre Now Sydney
The Moors
Jen Silverman
7 Feb – 1 Mar 2019
Tue – Sat 7:30pm
Additional Shows:
Sun 11th 5pm
Sat 23 2pm
Wed 27 11am
Venue: Seymour Centre: Reginald Theatre
Theatre Company: SirenTheatre Co.
Duration: Approx 90 Min (no interval)
Two sisters and a dog live on the bleak English moors, and dream of love, power and notoriety. The arrival of a governess, the pointed schemes of a scullery maid, and the musings of a moorhen set this odd assembly on a strange and dangerous path. A cleverly crafted black comedy about love, desperation, and visibility, The Moors is a brilliant new work by Jen Silverman, a fresh new voice who takes chances.
From the company who made The Trouble with Harry this is a play of subversive edginess toppling the male-oppressed milieus of the Brontës and taking strong, passionate female characters to new heights.
“Truly clever and intelligent. You really ought to see this.” – The New York Times
Pre-Performance Talk
Wednesday, 13 February, 6.30pm
Take the opportunity to participate in an entertaining and informative discussion about The Moors. Gather insight into the performance and the creative process behind the show.
Seating is limited to patrons with tickets to this performance.
Photo Credit – Harvey House Productions
Model – Lara Lightfoot; Hair & makeup Natalia Ladyko
Ticket Prices
Standard $50
Concession $40
Preview $30
Matinee $33
