stretching their shadows far away
beneath the turf my footsteps tread
Lie low and lone the silent dead
I was later told the gravestone was a mere accident which seemed unlikely but if so it was lucky accident and if the gravestone was intentional it was a nice and thoughtful idea it was, like the equally thoughtfully added chip, chip, chip of the stone mason as he unseen, carves out new gravestones for those silent dead ,another great idea.
It was also a delight to see the sisters dressed accurately and with obvious thought and attention to detail, Ann in a grey 1840s gown ,charlotte in a drab 1840s gown, both in multiple petticoats which though invisible yet made the gowns move right despite being much more high maintenance than adding the usual inaccurate hoops and even more impressive Emily was dressed in a 1830s gown with straight skirts, that seemed inspired by the Gun Group, it was a nice touch that probably went unnoticed by most theatre goers and therefore all the more impressive.
The cast itself was truly exceptional and on a Saturday afternoon with another long and emotionally demanding performance ahead of them, to what would no doubt be a bigger audience they gave their all to the performance. They made the two thirds full theatre resound with clear and passionately spoken yet restrained performances.The play opens with the sisters, Mr Bronte and Branwell singing one of Ann’s hymns to her melody that has been thoughtfully reset, I am no musician so unfortunately cannot do justice to its sensitivity to the characters later roles but the actress playing Ann later explained in our interview that it was a five-part harmony. To my uneducated ears the hymn was simply, perfectly sung. The male voices kept subtle enough not to drown the ladies yet clear and strong while the actresses sounded very sweet .
From the very first the script show that the playwright is very familiar with the Bronte’s letters and other primary sources, It harks back briefly to Chekhov ,it is Anns birthday (name day) and she mentions the contents of her diary paper, a nice deft way to set the scene. I suspect that Blake Morrison read widely and perhaps made notes of the biographical elements of several of Charlotte’s novels such as Shirley and has taken inspiration for some parts of Charlotte’s early dialogue about curates from it. Throughout the play he shows an intimate acquaintance with facts and wide-ranging exploration of primary and secondary sources as well as Bronte novels and poetry so that when he later bends the facts you are absolutely certain it is an artistic and creative decision not ignorance. The research lies gently within the script and often hidden but I believe it helps breath life into the characters. Perhaps also ought to mention here another major difference between the Blake Morrison and Chekhov plays, especially as it was yet another reason I had avoided the play ,while Chekhov’s sisters seem to me at least to constantly long for civilisation and culture of Moscow ,thinking very little of their present backwater existence among what they perhaps consider red necks ,In the Blake Morrison play there is none of this denigration of the Brontes surroundings and while this unavoidably means the play drifts further from its Chekhovian roots, good for him !
To review each character in more detail I will start with the sisters and with Emily who was perfectly played by Sophia di Martino and while I personally felt the character as written was at times too morose she was most people’s perception of Emily and aside from the odd gloomy comments which are, as parts of the script outside her control the actress absolutely perfectly portrays Emily’s force of character (the actress called her” a force of nature “in our interview ) She recited Emily’s poetry when the script provided her with the opportunity not as mere lines but as something that spoke to her own soul.
There is interwoven into all her actions and delivery the impression of Emily as something at once both ordinary yet elemental, yet thrillingly this wasn’t the clichéd Emily but a living breathing funny and sometimes fragile Emily, rooted in her love of the moors yet not enslaved by the script into a stereotypical hybrid of Kathy and Heathcliff ( the Kathy- like moor wandering cliché was something the actress later mentioned they had been very keen to avoid). I was delighted to see the domestic homemaker and witty Emily brought to life here .I often felt “yes! this is how Emily looked and moved and spoke” It was almost as if I were a fly on the wall at the parsonage back in the 1840s. It was a delight
Charlotte was equally well-played, I didn’t get chance to talk to the actress about her intentions and inspirations as she wasn’t with us later so I will have to go with my own impressions, I felt she was possibly the most Chekhovian of the characters, also I got a very deep impression that this was Juliette Barker’s Charlotte ,rather than Mrs Gaskells and Juliette Barker doesn’t seem to be much of a Charlotte fan .Its seemed the actress had done her research and she was extremely good in her scenes with Branwell and Tabby. She made Charlotte a warmer, brighter being .Blake Morrison has obviously thought long and in-depth about Charlotte and it shows .He takes Barker’s solid scholarship but, Pygmalion like breathes life into her chilly marble .
Tabby was brilliant, a character pivotal to the Brontes yet usually ignored it was a real joy to see her brought to life. It may have been merely to provide a nod to Chekhov and a victim to Lydia as it’s a small part with few lines and she could have been an almost non entity ,the butt of Lydia’s insults and object of the girls sympathy but it is a great tribute to the actress that she’s one of my favourite characters from the play ,Her Tabby is blunt, vivacious, funny, yet occasionally heartbreakingly frail. Blake Morrison yet again has breathed the spirit of the real person into the old familiar mould.
Branwell was perfectly portrayed physically .
When he walks on he reminds me of the Leyland bust and his own sketches. I am not sure what I thought of his emotional portrayal ,I didn’t like this Branwell and not because of his actions. In another play, Bronte Boy, Branwell was just as badly behaved yet still lovable and worthy of sympathy. Blake Morrisons Branwell seems unsympathetic and I am not sure if that’s due to the original Chekhov play or the choice of the playwright, The scenes where he bully’s and denigrates his sisters vividly brought to life how life must have actually been in those dark days final days but as this is unsoftened by earlier scenes of affection you are left with a distinctly unflattering portrait, I am no fan of Branwell yet he was a loving brother and a talented and witty man but I felt little of this in Blake Morrison’s Branwell .
I also found Lydia two-dimensional but that was how she was written and the actress playing her seemed to do her best with, in parts not very good material, though she has some excellent one liners, among my favourites was
“I thought Haworth would be more like Harrogate”
I would imagine she’s supposed to be a monster, but I remember one reviewer described her as one step away from Hyacinth Bucket and that was the idea that stuck in my mind.
To return to the sisters, Ann played by Rebecca Hutchinson is perfect, she’s often left in the shadows in Bronte biographies and plays so it was utterly delightful to see another play that centres so much of the action on her and an actress that brings her so fully to life, the actress playing her was indignant that a recent poll mentioned Charlotte and Emily but completely missed Ann off the famous Yorkshire authors list. That passion for her character and her right to a voice seemed to me to inform and impassion the performance. Ann was the gentle quiet Ann of myth but not the lifeless cardboard cut out of so many portrayals.
Of the male characters The father Patrick was also excellent, touching and intelligent but funny and kind and though he obviously has his eccentricities and has a somewhat fiery nature he is not dominated by either but they merely add another endearing layer to the character.
The minor characters are a curate “William ” who is so well written and played I believe he has every woman in the audience half in love with him before he finishes his first scene and kicking herself by the end of his second .William is, I assume based on Willy Weightman and has much of what seems to have been Weightmans charisma and sex appeal ,yet also his compassionate sweet nature and dedication to improving the lot of his parishioners, all be it intermixed in the Curate character with a superficiality on other levels and what amounts to an addiction to insincere flirtation.
The doctor is also a revelation, initially a frequently superficial and occasionally brutish character he is also tender ,sad and intelligent, his final scene as he prepares to leave Haworth reminded me somehow of the legend of a mute swan singing before its death, his lines where simple but moving and perfectly delivered, the audience was hushed .
It’s strange that though the men seem to dominate the first acts yet they seem somehow disposable, the sisters silent and often unremarked on seemed to me to dominate the play even when silent or in the shadows
I left feeling that you didn’t need to know the original Three sisters to enjoy Blake Morrison’s version, Though it’s obviously hung onto a rough three sisters outline,, it had gloom enough to go around but was also bright and witty ( though I know initially Chekhov wrote “the three sisters “as a comedy. I don’t think you can actually say you wrote a comedy when you have to explain to people it’s a comedy, which apparently Chekhov had to do ).This play however was genuinely laugh out loud funny, in the places intended to be funny and the lines were expertly delivered with perfect comic timing.
Later we were joined by two cast members the young actresses who had played Ann and the equally talented Emily The interviews were a joy. I asked the actress playing Ann if she had read Agnes Grey as it seemed to show in her character and she said yes she had read all Annes work and esp. her poetry which she loved and that she had read a great deal of Juliette barkers biography which she is still studying. I asked her if she liked Ann ,she said yes she loved Ann for “her optimism ,for daring to be an unashamed romantic ,for always searching for the good in people and despite adversity daring to dream big and see beauty in everyday, which is a real gift.”
I then asked “Emily if having so little of Emilys own words outside of her novel and poetry was liberating or restrictive. She said it was both “it was a challenge getting to know Emily as she didn’t want to be known” which I thought was an excellent and intuitive summary .Of the character of Emily in the play as elsewhere she felt “a lot is imaginary and other people’s ideas “. She has also read widely and is very familiar with Juliette Barker’s work and Emily poetry .She named reciting the poetry as one of the highlights of the play for herself. Both of the actresses where charming and very happy to talk.
I should like to thank the young ladies for their patience and time which no doubt left them, little time for leisure and food between their interview with us and the later performance. All in all I was glad we had seen the play and sorry I had left it so late, perhaps the play should have focused less on its Chekhovian origins and been keener to stress its strengths which to me seemed to be non Chekhovian elements which to me at least seemed to be the larger part of the play. Blake Morrison seems to have made the wise choice of ignoring what was a perhaps ill-advised brief and imposed a better brighter vision onto it.
Abigail Bell is the pseudonym of Lyn Marie Cunliffe