Jen Silverman’s The Moors is a sort magic realist comedic parody of the Gothic novel in general and the Brontës in particular.  It’s currently playing at The Theatre Centre in a Riot King Art Market production directed by Bryn Kennedy.

Two sisters; ditzy Huldey (where did that name come from?) and domineering Agatha live in a large parsonage on “the moors”.  It’s surrounded by this terrifying landscape where people who get lost in the perpetual rain and fog starve to death, get swallowed by quicksand or eaten by ravenous birds of prey.  It makes Bleaklow on a wet, winter Wednesday sound almost idyllic.  The house itself is strange.  It appears to exist in its own stasis warp in time and space.  It’s many rooms are all identical and time behaves strangely.  It has one servant.  We’ll call her Marjorie; which is one of her identities, which change as she moves from room to room.  As does whether she is pregnant or has typhus.

Into this menage comes the new governess Emilie; attracted by what seems like a steamy correspondence with the brother Bramwell who is nowhere to be found.  Nor is the child she is to look after.  There’s also a dangerous mastiff  who comes across a moorhen he thinks he thinks is God until he falls in love with her.  If you have been following this your Bronte bingo card will be filling up but there’s more.

Doggy/bird conversations about happiness, depression and relationships are hilarious but end badly.  The sisters convoluted plots to achieve their own individual goals go equally awry.  Along the way there’s some excruciating diarising, another classic Gothic trope (not vampires!) and some torrid lesbianism.  And a completely bizarre song and dance number.

It’s fun to watch.  Raquel Duffy’s deadpan portrayal of the rather appalling Agatha is on point as, in its own way is Lindsey Middleton’s histrionic Huldey (she’s also the very energetic performer in the song and dance).  Erin Humphrey is surprisingly sinister as Marjorie et al; going from down trodden skivvy to something close to puppet mistress.   Blessing Adedijo is quite enigmatic as Emilie.  She makes an entirely believable journey from complete confusion about this weird world she finds herself in to willing and passionate partner in Agatha’s grand scheme..  Jack Copeland is splendidly doggy as the mastiff while also managing top come off as the half of a dialogue that is not Socrates.  Heeyun Park embodies vulnerability in the most charming way as the moor hen.

It’s all pretty crisp and just OTT enough helped by appropriately obvious sound and lighting.  In some ways it’s like a more polished and seriously extended version of one of those Fringe shows that riffs crazily off a book everyone is supposed to have read but forgot years ago.  I did find myself wondering whether there was some deeper meaning embedded in the comedy but I really don’t think so.  I thinks it’s to be enjoyed for the deadpan humour, excellent comic acting and the guilty pleasure of ticking off the Brontë references.

The Moors runs at the Theatre Centre until April 19th.

Disclaimer:  I grew up in sight of “the moors” (east and west).  It’s not that grim but a compass and a 1:50000 OS map are strongly recommended!

Photo credit: Juniper Simpson Serrano