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 MOORS. A hyper-theatrical and kinky homage to the Brontës ; a play about female power and what it is to write your own story.
From the company, Siren Theatre 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.
Two sisters and a dog live on the bleak English moors. They 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.
Nothing is as it seems in THE TROUBLE WITH HARRY. From the obscuring haze of thick smoke as we enter the theatre to the delicately constructed dance of death that concludes the work, people and events are viewed through a glass darkly. A mirror, a lens, a dirty window pane perhaps. There is an obstinate obfuscation in Lachlan Philpott’s text and Director Kate Gaul has successfully pulled the story from the page without exposing it to the full light. Like the magnesium flashpowder of the antique photographer’s T which will give light to a sepia photograph, there are puffs of understanding dispersed in a stillness of wondering.
THE TROUBLE WITH HARRY is a highly theatrical interpretation of a true story. Harry Crawford was arrested in July 1920 for the October 1917 murder of his wife, Annie. Her charred remains had been found near the Lane Cove River at Chatswood where she and Harry had been picnicking. When taken to the police station, Harry asked to be taken to the female cells and it was revealed that he was in fact Eugenia Falleni, assigned female at birth. Harry had been living as cisgender man since he had run away to sea as a very young person.