It is an interesting phenomenon when the storytelling trends currently dominating the television and film landscapes creep up in the theatre world.
Every new project announced nowadays, whether it’s for the big or small screen, seems to be either a reboot of a previously successful property or some sort of crossover event that brings together fan favorite characters for an epic adventure. This year alone, we’ve seen the first installment in the third incarnation of the Spider-Man film franchise and, later this week, the Justice League will assemble for the first time in a live action movie.
On the other side of the genre and content spectrum from those blockbusters, Point Park’s Conservatory Theatre Company presents a surprisingly physical and universally stunning production of Jaclyn Backhaus’s play You on the Moors Now
Backhaus’s script operates as a reboot/sequel to some of the 19th century’s greatest novels that have since become staples of high school syllabi around the world. The play opens as the worlds of Jo March (from Louisa May Alcott’s Little Women), Jane Eyre (the titular character in Charlotte Brontë’s novel), Catherine “Cathy” Earnshaw (from Emily Brontë’s Wuthering Heights), and Elizabeth “Lizzie” Bennet (from Jane Austen’s Pride and Prejudice) collide during pivotal moments in all their lives. They have each received marriage proposals from their respective love interests and, to their surprise, they’ve all said no. Now, they are all left with an even bigger and more difficult question to answer: What’s next?
Their decisions to abandon their homes and families and strike out on their own have disastrous effects for the people in their lives. It’s definitely a four way tie for who handles this the most poorly between the young women’s jilted suitors Theodore “Laurie” Laurence, Mr. Rochester, Heathcliff, and Mr. Darcy. With the help of some colorful supporting characters from each of the novels, the men hunt down our heroines. Their search leads them into the mysterious world of the moors where Jo, Jane, Cathy, and Lizzie have set up camp.
An all out battle of the sexes ensues between the gendered factions. It takes disfigurement and death on both sides to bring the conflict to an end. Even though it’s not until ten years after the end of the war that we meet our characters again, it’s clear that those who survived are still dealing with the pain of their psychological scars. In one way or another, our four heroines find peace within themselves and with the choices they’ve made in their lives.
I’m sorry to be purposely vague on the plot details of You on the Moors Now, but I think the best way to experience the show is knowing as little as possible. There are tons of twists, turns, and Easter eggs for fans of the books. But, if you’re like me and you got stuck reading Ernest Hemingway and Aldous Huxley in high school instead of Alcott, Austen, and the Brontë sisters, you’ll love getting to know these bright, quirky young women and easily identify with their struggle for independence
While I maintain that on paper this play sounds like a television or movie pitch waiting to happen, I credit director Sheila McKenna with employing thrilling movement and combat sequences to give the piece an impact that only theatre can achieve. As the play skillfully subverts our expectations and perceptions of these classic characters, she along with dance captain Meghan Halley and fight captain Shannon Donovan raise the stakes of what could be considered by an especially cynical viewer as simply feminist fan fiction. The way that the opening line dance and the fight scene that ends Act II echo each other is truly poetic.
It is a story 100% by and about women that is truly feminist for the way it establishes women and men as equally fearsome adversaries on the battlefield and equally able to make and learn from their mistakes.
Unfortunately, for all of their talents, McKenna, Halley, and Donovan are not able to rescue the production from its tidy and tedious ending in the play’s third act. That task is left to the show’s designers Tucker Topel (sets), Terra Marie Skirtich (costumes), and Heather Edney (lights), whose work was a beauty to behold for the entire show but definitely shone brightest in its final moments.
The actors literally wore their characters’ emotions on the sleeves in outfits that looked like they were ripped from the runway of a 19th century-inspired Urban Outfitters collection. You’ll truly feel like you’re in the world of a book with the walls painted to resemble scorched parchment pages and where you can be transported from deep in the woods to high in the stars in an instant.
It will be hard to witness a more energetic and charismatic ensemble than the one featured in this production. They are led by the aforementioned Ms. Donovan (Jo), Julia Small (Lizzie), Madeline Watkins (Cathy), and Aenya Ulke (Jane), who all combine the classic elegance and strength that made these characters iconic with a modern wit that makes these worlds worth revisiting today.
Their bond is indestructible and sweet (without being sappy) as in the scenes where Cathy hilariously bemoans her sister-less state and her three friends reassure her that she’s never without a sister as long as they’re around. Point Park’s You on the Moors Now makes sisters of all this revisionist riff. Regardless of age, gender, or era, we’re all just fighting to be heard and have our dreams respected.
You on the Moors Now runs through November 19 and from November 30 through December 3rd. For more information, click here.
Photos by John Altdorfer
Categories: Archived Reviews