It really isn’t going to be for everyone but I adored THE MOORS. The black humour grabbed my jaded funny bone and wrestled in into a very odd shape. Plus, weirdly, my typhus must have been acting up because I could hardly breathe in places. It is a deliciously detailed production which, despite being non-sequitur free, is alarmingly disorienting and it’s ferociously feminist and with some remarkably troubling hits over the head with a Bronte. And an easy to follow narrative … go figure.
It begins with a nunnunnunnah. And from there on Nate Edmondson’s audio design leaves no clichéd audio cue unreferenced. It takes the horrible from horror with a score which interlaces plunks and a distant pipe strike and swirls of strings and a contrapuntal discordancy in places. It never overwhelms and even has a bell motif that rings distant from a hillock through the fog! Continue reading THE MOORS: WELL, I LOVED IT!→
The Sydney premiere of THE MOORS by Jen Silverman and directed by Kate Gaul, looms darkly through the fog before its opening to previews on February 7.
After being lured by mysterious letters, Emilie takes the position of governess in a household on the forbidding moors. Upon arriving, she finds two sisters – the stern and domineering Agatha, and the needy and flighty Hudley – a dog, and a glowering maid who isn’t always who or what she seems. Emilie’s arrival sets this odd assembly on a strange and increasingly bizarre path.
Inspired by the lives of the Brontë sisters, THE MOORS is a black comedy about love, desperation, and the way women are seen.
We had the opportunity to annoy cast member Brielle Flynn, who plays the hapless Emilie, while she was fog-deep in production week.
SAG: Thank you so much for taking the time to answer our questions. So, there are 4 women and a dog in the cast? I’m assuming The Moors passes the Bechdel test?
THE HAM FUNERAL by Patrick White follows the activities of a group of characters in a decrepit, damp boarding house. The owners of the house, Mr and Mrs Lusty, rent out one upstairs room to a young man, the poet, and the other to a young woman. When Mr Lusty dies, Mrs Lusty decides to show respect for her husband by inviting his friends to a splendid funeral feast, where the “piece de resistance” is a large ham.