By Lauren Zazzara
Features Assignment editor
On Jan. 25, Aquila Theatre, based in New York City, brought its version of “Wuthering Heights” to the Regina A. Quick Center for the Arts. The play was based off of the novel by Emily Brontë.
“I really wanted to stay true to the spirit [of the book]” Desiree Sanchez, artistic director for Aquila Theatre said. “A lot of people think of “Wuthering Heights” as romantic with romantic notions. They confuse it with “Jane Eyre” or Jane Austen. This one is much darker and much more complex on a lot of levels. There is something romantic but also so broken about the characters.”
The cast consisted of six actors, all of whom played more than one part. Michael Ring played characters of both genders, alternating between Catherine’s brother, Hindley and Heathcliff’s sister, Isabella.
Nelly, the maid played by Cary Lewis, acted as the narrator of the performance, as she does for most of the novel.
The performance was shrouded in generally dismal and shadowy lighting, with rain sounds in the background, perfect for the moody and tumultuous plot.
“I wanted to stay true to the atmosphere of the theme and how extreme the landscape is,” Sanchez said. “It’s very beautiful but incredibly unforgiving.”
In addition, blue and red lights were added for effect. For example, in a scene where Heathcliff (played by Joseph Cappellazzi) was plotting revenge on Hindley, red light shined on his face for a demonic and ominous addition.
The theatre’s interpretation also used elements of dance. Characters announced scene changes by suddenly moving in slow motion and moving as if they were rowing a boat. When Catherine (played by Tara Crabbe) mourned over the death of her father, her grief was portrayed through dramatic writhing on the ground. A scene that depicted Heathcliff and Catherine as friends when they were younger showed them dancing over the moors, emphasizing their youth and innocence.
“I attempt to approach my work from a movement perspective,” Sanchez said. “I was a professional dancer for 20 years, and I’m very connected to the power of gesture and movement.”
She said she hoped to express through movement what words could not, such as the power of the story.
The performance did not include the entire plot of the novel. The play ended shortly after Catherine passed away, whereas the novel goes into detail about her daughter Cathy and her love for Heathcliff’s son, Linton.
“When I first read the book I was really into it, then in the second half I lost interest, and in the latter part of the second half my interest peaked again,” Sanchez said. “I tried to add [the second half] but we lost any sense of really understanding why these people might be the way they were…to pull the audience in I stuck with the first half.”
She added that she would love to create a second part.
Dr. Jean-François Godet-Calogeras, a theology professor, enjoyed the performance.
“It is a literature from the 19th century that I never really could get into. But I came with my wife because it’s a classic and we had a ticket, and I really enjoyed the performance,” Godet-Calogeras said. “I think the way they played…it was so creative, so vibrating, I enjoyed that. I don’t regret that I came for that. It’s interesting to not care too much for the story but really appreciate the artistic creation.”
zazzarlm13@bonaventure.edu
