Wuthering Heights, Contact Theatre, Manchester, 26th-27th November 2014
I could start by saying that if you’ve ever wanted to see Wuthering Heights narrated by a horse, then this is the play for you. But I won’t. That would make very little sense to anyone. I could start by saying that fans of long, uncomfortable, and all-male group hugs will be in for a treat, but again, I doubt that would apply to many. Or I could start by saying that fans of theatre that mixes humour with social awareness should make sure that they catch Pete McMaster’s Wuthering Heights at the earliest opportunity. That seems as good a place to start as any.
In all honesty, I don’t really know where to start. That’s partly because this is one of the most absurd and surreal things I’ve ever seen on a stage. But it’s also because it kind of blew my mind. From the moment you step into the room to see a grown man trotting around the stage and making horse noises, you know this isn’t going to be your standard adaptation of Emily Bronte’s 1847 novel. But I doubt that, even at that point, anybody predicted the hour that was to follow.
One difficulty in reviewing this play is that much of its magic comes from the element of surprise, so I’m going to try my best not to ruin that for future audiences. One thing I can definitely say is that this is no ordinary Wuthering Heights. If you go there expecting to make notes for your GCSEs or to hear the story of Cathy and Heathcliff in its full and brutal beauty, you might be disappointed. If you go with an open mind, willing to laugh, and as a fan of Kate Bush, you won’t.
This isn’t just the madcap and irreverent comedy that it first appears, though. Despite the bizarre antics, the bawdy humour, and the downright silliness, this is a play with extremely important underlying messages. As soon as I saw the poster’s claim that this was an all-male adaptation of the story, I knew that it would have something to say. But just what that was, I wasn’t sure. I have to admit that I travelled to Contact with a bit of trepidation, fearing something clichéd and tired.
Not the case. McMaster’s play juxtaposes humour and high drama to interrogate what it means to be a young male in modern society. Splicing the four actors’ stories with the often side-lined account of Heathcliff’s three-year disappearance, the play asks what it means to be a male finding their way in the world; what do we have to hide, what’s expected of us, what do we find ourselves forced into, and what is it that causes so many young men to suffer in silence?
In an age where equality is still some way off in many walks of life, the arts often focus on forwarding the causes of feminism. As they should do. But this does mean that a vulnerable section of society can go ignored. More young men than ever are suffering from depression and related illnesses, and yet the macho society we live in requires them to keep these problems to themselves. Wuthering Heights makes the brave decision to bring this kind of issue to light.
Although many will enjoy this play simply because it makes them laugh, behind almost every joke there is a comment on the psyche of today’s young men. Much of this may be missed during the performance. But, thinking about it afterwards, the meanings become clear. There is a ten minute section in which McMaster asks another of the actors a long list of questions about his true inner thoughts, and I’m sure that at least half of them will have struck a chord with any young male in the audience. And once those questions settle in, you begin to see the layers in every moment of humour. This is highly impressive and intelligent theatre.
And it’s also one of the funniest things I’ve ever seen on stage. Tears were rolling down the faces of some audience members at the same times as looks of blank confusion passed over the people they were sitting next to. But for those that connected with the humour, it was hilarious. McMaster and the other actors deserve extremely high praise for the way they switch between comedy and emotion. It was effortless and effective, and it’s a difficult trick to master.
From the looks on a few faces in the crowd, it was clear that not everyone was impressed. This wasn’t what they signed up for. Wuthering Heights is a serious and canonical book, and they’d come to see a serious adaptation. But if you find yourself drawn to this anarchic and original idea, it will produce moments of magic in your mind. I’ll be thinking about it for a long time yet.
Fran Slater