A powerful and moving Senior Production of 'Bronte'
Although it may not have been the original plan, nothing felt second best about Monkton’s striking adaptation of Polly Teale’s Bronte. Typically the senior production caters for a large cast (around 30+) yet circumstances this year meant the cast consisted of just twelve performers. Twelve performers however, who all embraced the unique opportunity to work as a smaller company, on a script that required emotional maturity and strong characterisation. In a Monkton first, the traverse stage was set and the audience was immersed into the lives of three of the most famous female writers of all time and their often overlooked brother Branwell. Whilst the numbers may have been smaller, there was certainly no lack of creativity, substance or talent among the dedicated cast and crew involved in bringing this tale of love, loss and literature to life onstage.
It is no mean feat to combine the fictional and real-time world on stage but this was done with flair as the fictional characters from each sisters’ novels - Jane Eyre, Wuthering Heights and The Tenant of Wildfell Hall - were interspersed throughout the piece. The attention to detail was evident as the period costumes used colour to link each fictional character to its respective literary work. Year 11s Jess Nunn and Evie Maya brought focus and emotional intelligence to their respective roles of Cathy Earnshaw and Bertha Mason, adding a certain depth to the piece as the literary world collided with the world of the sisters.
Directing and performing on a traverse stage is not an easy task and with each character being visible at all times due to being dispersed among the audience when they were not on the stage, the cast demonstrated great skill to remain fully in character throughout the duration of the piece. The non-linear structure of the piece was complemented by the innovative choreography and use of music as these elements intertwined to create sophisticated transitions between the multiple time frames. The featured repetitive movement sequences depicting household tasks expected of women such as sewing and cooking grounded the piece in its time. Yet the music - excellently composed by Jay McGillan - which was modern in its feel, served as a frequent reminder that the issues being explored reached wider than this family's tragedy and that the very human struggles of these characters regarding the unrealistic expectations put on us by society are still very much alive today.
The cast's commitment to this story and to each character's journey was impressive throughout. Chrissie Haynes’s mature and heart-wrenching portrayal of Charlotte Bronte highlighted the layers of this complex character as she battled her expectations as a woman in the home with her ambition to have her work recognised. Liv Stockinger’s insightful depiction of Emily Bronte’s self-contained genius and abhorrence for celebrity challenged preconceived ideas about this literary figure. For me, a particularly striking moment featured Branwell’s abuse of Charlotte, in which the actors displayed their strong physical skills and emotions ran at an all-time high. Sam Myers's stand out performance as Branwell was nuanced and intuitive, allowing the audience insight into how his failure to meet the high expectations set by his gender and family catalysed his descent into alcoholism and drug addiction. Sam also demonstrated his versatility in the additional male roles of Heathcliff, Rochester and Arthur Huntington, morphing seamlessly between each one in quick succession.
As the director described, this piece is a ‘tragic tale of people who love and support one another, yet cannot communicate this’. This was echoed in Charlotte’s explosion of grief and frustration over her brother wasting the opportunities she longed for, Emily's internal battle between herself and the world she lives in and Branwell, who tried but failed to excel as much as his sisters. The piece expertly conveyed the complexity of these siblings' relationship, a notably poignant moment being when a heartbroken Branwell apologised to Charlotte, revealing his vulnerability as he broke down in the lap of his older sister. Moreover, as Emily passed away lying in Cathy’s arms and Charlotte was left grieving what could have been, I doubt there were many members of the audience left untouched by the deaths of these siblings whose lives were cut short by what should have been avoidable circumstances.
Although the tragedy surrounding the Bronte family is, in a way, what makes this piece so compelling, one of the most impactful moments was found in the past, watching the Bronte children find joy as they played together in the lively world of make-believe. There was something nostalgic about witnessing these siblings in their early childhood before they are too restrained by gender roles and societal expectations. After following each sibling into adulthood and later to their deaths, it was both touching and ingenious adaptation to end the piece back in the family home, with four siblings playing on the kitchen table. The thoughtful characterisation of each sibling portrayed the fun and innocence which children possess, prompting the audience to reflect on our world and how it impacts the growth of our children. This combined with the much welcomed comedic timing and characterisation of Arthur Bell Nichols, played by Angus Bell, meant the piece tugged at all the emotions, in ways the audience might not have anticipated.
On a more personal note, as someone who has analysed and performed parts of this text as part of my A-Level course, I am aware of its complexity. The text is packed full of intricate characters and mature themes including alcoholism, addiction and the damage caused by societal expectations yet still much is left to be interpreted. It was a real privilege to be able to come back and witness the play in full, especially in the sophisticated and captivating way it was delivered. As a piece which is driven highly by human emotions, the hard work that each member of the cast put in to produce such a layered and moving performance should be commended. Each actor pushed themselves to look beneath the surface of these characters, finding their place in this complex story and it was fascinating to watch each cast member fully embody their characters with maturity and skill. The trust in one another and support shared among the company was impossible to miss and there is no doubt that this played a part in the production's great success.
Holly Brennan, OM 2021
