The Tenant of Wildfell Hall

First published in 1848, The Tenant of Wildfell Hall caused a sensation with its realistic depiction of domestic abuse and a capable talented woman taking control of her own life.

Unlike many novels set in the period where wealthy people – with no employment - wait around for someone to visit them, or spend their day brooding about the next party, here was a real story about alcoholism and debauchery.

The novel is divided into three volumes. In part one, the flawed hero Gilbert Markham (portrayed dashingly by Remy Hii) narrates how a mysterious widow - Mrs Helen Graham (portrayed elegantly by Tuuli Narkle) has arrived with her son Arthur (Danielle Catanzariti) at Wildfell Hall. Mrs Graham – an accomplished painter - is the subject of gossip and arouses special interest in the menfolk.

The second section of the novel is taken from Helen’s diary, recounting her marriage to Arthur Huntingdon (Ben O’Toole) - a spoilt and selfish individual with characteristics we would call toxic masculinity today.

To bring the novel to the stage, Emme Hoy had characters speak directly to the audience at times – which was very effective and also interspersed the narrative with flashbacks - to Helen’s courtship and marriage to Arthur.

The problem with the flashbacks in this production was that it in some of the scenes it was a little unclear as to whether the action was in the present or the past.

Now my date, who is a much sharper than me about many things including romance novels, picked up immediately what was going on by the subtle costume changes.

But there was head scratching amongst some members of the audience at interval, exacerbated by a scenic revolve which kept going round and round and round.

Still, there was a lot to enjoy in this production. As with Jane Austen, some of the most entertaining characters are the minor ones. Stand outs were Steve Rodgers as the buffoon-like Reverend of the village of Lindenhope and Tara Morice as a stern aunt.

The costumes from Renée Mulder were sumptuous, the 19^th century interiors from set designer Elizabeth Gadsby positively sparkled, and there was a delightful soundtrack from Clemence Williams, allowing for some beautiful dancing, choreographed by John Gardiner-Garden.

Having got our bearings, the second act was clearer and struck an emotional chord. As Emme Hoy wrote in the program, the story is still chillingly relevant, but its strength is that it shows that there is a positive way out for women in an abusive relationship.

David Spicer

Photographer: Prudence Upton