REVIEW: THE MOORS by Jen Silverman at The Hope Theatre 11 October – 5 November 2022

‘gothic horror, perfect for the season’ ★★★★ ½

It is a wonderful script by Jen Silverman, complex and clever with a number of ghastly reveals which shock but are completely in tune with the subject matter of the play. This gothic horror presents huge challenges especially for a small theatre: the large cast, the grand scale (some scenes are set in a mansion and others on the Yorkshire moors), the weird characters which have somehow got to become real to the audience. Added to this, the director, Phil Bartlett, chose to audition only recent graduates for these intricate roles.  Did they pull it off? Yes, they did, a remarkable accomplishment.

Jen Silverman’s script is partly inspired by the Bronte sisters, and for those of us who are intimate with the stories of Jane Eyre (Charlotte Bronte) and Wuthering Heights (Emily Bronte) it helps to bear those stories in mind. Whilst the set and costume give the show a period feel, the script feels contemporary with bang up to date themes which sets up questions about the lives of the sisters. What were their lives really like, and does this play throw any light on them, or is it simply a vehicle for Silverman’s own concerns?  

The story is very engaging. Emilie, a governess, arrives at a mansion on the moors, but there is no sign of the child or the master, instead, the household consists of two sisters, a maid (who vacillates between two different guises) and a Mastiff dog. The creeping terror of the governess starts the moment she begins to realise that no matter how huge the mansion, all the rooms appear to be the exact same one.

There is a sixth character in the play: a Moor-Hen. The two creatures have a storyline of their own which is important to the main tale which speaks of brutality and is beautifully revealed in this production. The overall vision by the director, Phil Bartlett, is audacious and thoroughly rewarding. The audience is immersed in the set, we feel as though we are inside the mansion ourselves. The set design and costume design by Sophia Pardon is a marvel, it’s all absolutely stunning. 

The only small quibble in the production is with the sound.  Kudos to Julian Starr for his chilling soundtrack.  There are also some songs composed by Daniel Kluger which add value to the drama. The problem mainly arises during the scenes outside, with the Moor-Hen and the Mastiff, as there is no let-up in the creepiness, and it becomes intrusive.  These scenes are set on the moors and surely need a change in soundscape to reflect that, something quietly eerie (the essence of the moors) would work better so as not to distract from the duologue.

Peter Hadfield and Matilda Childs as the creatures, are a delight, understated, and very effective. Hadfield as the Mastiff has such doleful eyes, he is perfect for the part. All the actors handled their roles well, with a particular mention for Meredith Lewis who really shone with a very sophisticated performance as the confused and frightened governess who eventually takes control.

This is a show for anyone who enjoys suspense, spookiness or horror, it’s perfect for the season. 

Read our interview with director Phil Bartlett here

Photography: STEVE GREGSON

THE MOORS by Jen Silverman

The Hope Theatre

11 October – 5 November 2022 19:45

Box Office https://www.thehopetheatre.com/productions/the-moors/

CAST

Agatha IMOGEN MACKENZIE

Emilie MEREDITH LEWIS

Huldey KENIA FENTON

Marjory TAMARA FAIRBAIRN

The Mastiff PETER HADFIELD

A Moor-Hen MATILDA CHILDS

PRODUCTION TEAM

Writer JEN SILVERMAN

Director PHIL BARTLETT

Producer ELLA DALE

stage manager SUMMER KEELING

set designer SOPHIA PARDON

lighting designer JONATHAN SIMPSON

sound designer and composer JULIAN STARR

costume designer SOPHIA PARDON

music supervisor NICOLE JOHNSON

composer DANIEL KLUGER

Reviewed by Heather Jeffery, Editor of London Pub Theatres Magazine