The Tenant of Wildfell Hall Review

30.06.2022

“You’ll do your business, and she, if she’s worthy of you, will do hers; but it’s your business to please yourself, and hers to please you.”

For centuries women have been told to sit down, shut up, and only talk when they’re told to. It’s been instilled in young girls that a wife’s job is to please her husband, and it’s a woman’s job to become a wife. Forget about having free will or being in control –  just do what the arrogant, braindead, and self-entitled cishet white men say! While this way of thinking may seem medieval, it’s clear this expectation of submission is still prevalent. It feels as though people in power – whether it be politicians, teachers, bosses, or just people you know – like to deliberately pick on those with less privilege and less ability to fight back.

Set in the mid-19th century The Tenant Of Wildfell Hall, directed by Jessica Arthur, captures the story of Helen Graham – a young woman challenged by her expectations of love, marriage, and being a good wife. Set in two different timelines, you watch as her younger self suffers in an abusive relationship, and as her older self tries to learn how to live and love the way she wants to.

But what gives The Tenant Of Wildfell Hall its unique appeal is the way it portrays Helen, played by Tuuli Narkle. Tuuli’s truthfulness and sincerity bring a beautiful essence of honesty and power to the stage. Helen feels real, fully three-dimensional, and unlike the disappointingly bland stereotype of a ‘strong woman’ who struggles to have more than three personality traits. Tuuli escapes all possible tropes gracefully and brings a flawed, yet genuine character to the stage leaving the audience caring deeply about Helen (while also seeing a glint of themselves in her).

Each actor is joyful and playful in their role, bringing a sense of naturalistic ease to their performance. Intelligent writing for the stage by Emme Hoy makes this show all the more enjoyable. However, captivating actors and strong characters aren’t the only things enthralling the audience. A fantastically electric set dizzies those who watch as Helen’s house – which had been stationary – begins to spin on stage, revealing rooms that were previously concealed. Chilling piano and vocal loops performed live on stage by Eliza Scott are extraordinary, adding an unusual and haunting nature to the performance. It is unfortunate though, that this huge abundance of effects was not used until the second half of the play, making the first half reasonably underwhelming. And due to the lack of clarity in the show, it was easy for audiences to miss major story elements, one being that the story is told through interlocking scenes of the past and present, not just chronological order. While some may like this ambiguity and argue it was deliberate, for others it acts as a barrier to truly immersing oneself in the world of the story.

While flawed in some respects, The Tenant Of Wildfell Hall is endlessly talented in others – and if you’re willing to look past certain faults then you won’t be disappointed.

4 Stars.

Astra, 16 [she/her]

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A new adaptation of Anne Brontë’s 1848 novel, The Tenant of Wildfell Hall, is currently gracing the stage of The Roslyn Packer Theatre with Sydney Theatre Company.

The story follows the blissful village of Lindenhope existing in peace and serenity until a new tenant arrives to occupy a deserted estate on the outskirts of town – the enigmatic widow Helen Graham. The village’s eccentric ensemble eventually warms to Graham, but this shift in the status quo is quickly interrupted as her past and the mysteries sealed within the walls of Wildfell Hall slowly start to unravel. 

Adaptor Emme Hoy, who recently co-wrote the brazenly funny Bathory Begins for ATYP, took on the tumultuous task of condensing Brontë’s 500-page novel into a 3-hour production, with ease. Hoy retains her trademark whip-smart dialogue, incorporating gorgeous, lush imagery which helps transport modern audiences into the context of the piece. This adaption is an incredibly compelling dramatisation of a provocative classic novel, with themes and issues raised that still feel chillingly relevant almost 200 years on. 

Director Jessica Arthur, who most recently worked on the hilarious Grand Horizons with STC, brings a wonderfully engaging staging to this production, including an utterly ingenious use of the stage revolve. 

Renée Mulder’s period costumes are beautifully designed with exquisite attention to detail, honouring Hoy’s writing, and befitting each character. 

The ensemble of actors brings out engaging intricacies for each character and works brilliantly as a collective in transporting audiences into the context of this period drama. Tuuli Narkle sharply captures Helen Graham’s strength, whilst retaining an air of enigmatic mystery. Strikingly, Danielle Catanzariti conveys a wonderfully endearing youthful spirit in her portrayal of Graham’s young son,  Arthur. Nikita Waldron delivers such hilarious honesty in her embodiment of both Eliza Millward and Annabelle Willmont. Notably, Eliza Scott – playing both Mary Millward and Millicent Hattersley – delivers enchanting live vocals that overlay the scenes in cumulation with Clemence Williams’ historic sound design and compositions. 

4 Stars.

Nick, 16 [he/him]

Sydney Theatre Company’s The Tenant of Wildfell Hall plays at the Rosyln Packer Theatre until the 16th July. Buy tickets here.