A stellar cast lets the audience fully absorb the story, and the roles of Young Jane (Meara Gordon), Jane (Lauren Reisig), and Mr. Rochester (Josh Sparks) were especially key in this production. In their period costumes and with their accents, we’re brought into their world, their time, their culture, and their struggles. The set and staging were beautifully done, while the music and sound design allowed for seamless transitions, beautiful montage moments marking the passing of time, and added texture to the storytelling. There are a few large tragedies that arise in the story that are represented in strong and creative ways to ensure audiences feel the impacts of these moments. [...] Even if you’re familiar with the story, you’ll appreciate this adaptation and director Lindsay Laviolette’s shepherding of this production. While times have changed in many respects, the themes of the story are still relevant and resonant today. Grab your tickets and enter Thornfield Hall to uncover the mysteries in store. (Samara Caplan and Laura Gauthier)
More Jane Eyre on stage as Northern Arts Review shares the first images of Storyhouse's take on the novel. The play opens at the Chester cultural venue from Tuesday, 10 November to Saturday, 21 November 2026. Storyhouse Creative Director Suzie Henderson said today: “Excitement is building with just two weeks to go until this thrilling new adaptation of Charlotte Brontë’s much-loved masterpiece opens on the Storyhouse stage as one of the undoubted highlights of our autumn season. “Jane Eyre is a Storyhouse Originals production in partnership with the Mercury Theatre at Colchester and Rose Theatre at Kingston, and it’s been an exhilarating collaboration, creating a very special piece of live theatre which under Lily Dible’s exciting direction is both powerful and utterly compelling.”
Politis discusses A Mussel Feast by Birgit Vanderbeke. When I was at university, I developed a quiet resistance to a particular kind of novel. I found myself increasingly irritated by reading lists populated by women who unravelled. Women in attics. Women in unhappy marriages. Women drifting towards breakdown. Women whose inner worlds became more and more fractured until they could no longer function within the worlds around them. Somewhere among them was Birgit Vanderbeke's The Mussel Feast. [...] Many of the books I resisted at university have stayed with me nonetheless. The Yellow Wallpaper. The Bell Jar. Wide Sargasso Sea. Different books, different women, different circumstances. Yet all return in one way or another to the relationship between power and distress. (Emmelia Georgiou)
Author of Call Off the Dark, Hallie Shepherd discusses the Gothic genre on Oprah Daily. Walk into a bookstore today, and you’re likely to see a gothic classic like Shirley Jackson’s The Haunting of Hill House on a display table alongside new gothic novels. On screen, films like Wuthering Heights and Nosferatu remind us of the enduring appeal of gothic romance and horror. And in music, Taylor Swift’s The Tortured Poets Department and Ethel Cain’s Preacher’s Daughter blur the line between bliss and ruin, making love songs feel like psychological landscapes to survive. Why all this darkness lately? I think it’s partly because the genre taps into something emotionally relatable. In a post-pandemic world, so many of us work from home or feel isolated in other ways. We’re tired of being online all the time, and there’s so much uncertainty about what lies ahead. Basically, you don’t have to live in a shadowy castle to feel a little gothic in your head and your heart. Gothic fiction gives voice to our loneliness and dread. On the flip side, gothic stories offer an escape hatch from the ordinariness of our own world. They transport us to richly imagined places that feel deliciously sinister and dramatic. We don’t just read gothic fiction because we’re afraid of the dark. Sometimes we read it because the dark is more interesting.
Vogue recommends '28 Entertaining Book Adaptations to Watch (or Revisit) Now' and one of them is Wuthering Heights (2011) Emerald Fennell’s recent madcap take on Emily Brontë’s operatic tragedy was fun, but if you’re after a more grounded interpretation, consider Andrea Arnold’s blustery, acutely observed vision of Cathy and Heathcliff’s doomed love. It’s the first adaptation to cast Black actors as the Byronic hero—James Howson and Solomon Glave portray his older and younger selves, respectively, opposite Kaya Scodelario and Shannon Beer as Cathy—and captures the rain-soaked, muddy bleakness and beauty of the Yorkshire moors in a way that chimes with the source material. This is a strange, twisty book which, with its layers of narration and disturbing coda, feels almost impossible to translate to the screen—but this adaptation comes close, at least in echoing its wild, unruly spirit. (Radhika Seth, Michelle Ruiz, Chloe Schama, Kristin Auble, Alexandra Hildreth , and Donya Momenian)
Yorkshire Life shares 'A guide to Yorkshire autumn walks for colourful days' and one of them is to Top Withens. In Brontë footsteps A walk that’s full of history as one that the Brontë sisters would have been familiar with on the wild moors. Start at Stanbury bus terminus and walk uphill on Back Lane. At the first road junction, continue following the road as it changes from a hard surface to a rough track. Just beyond a parking area, the rough track divides. Here, take the right-hand track uphill to the gate and cattle grid at the top of the incline. Go through the gate and on to open moorland to where the track divides into three – follow the right-hand track and continue uphill all the way until you reach the ruin of Top Withens farm, thought to have inspired Emily Brontë’s Wuthering Heights. At this point, you can head back down to Stanbury or go a little further for some incredible views. Walk to the rear of the building and take the narrow well-defined path leading steeply uphill and slightly to the right, in a north westerly direction. Follow this narrow path across moorland and keep right when you reach a point where another narrower path bears left. You will shortly see the Delf Hill trig point ahead. At the trig point take in amazing views all around, from Boulsworth Hill and Pendle Hill to the left, across the Yorkshire Dales, and beyond. Back in Stanbury, head to traditional village local, Wuthering Heights Inn. The pub also has a campsite with spectacular views. Top Withens Distance: Around two miles Start/finish: Stanbury bus terminus, Hob Hill, at the western end of Stanbury Main Street Difficulty: Suitable for most reasonably fit occasional walkers Parking: Limited parking near the bus terminus, but there is an informal parking area 300 yards up Back Lane, where the walk route passes. Parking is also available in Haworth village, around 1.7 miles away Pub: Wuthering Heights Inn, Stanbury See the full walk: With longer route options, at visitbradford.com
The Telegraph and many other news outlets report that a Romanov crown jewel is to be auctioned on November 11th, and also to be auctioned is Cartier’s Devonshire black opal tiara and necklace, which is expected to fetch up to £998,000. This item’s last public appearance was at the London premiere of the film Wuthering Heights, when Emerald Fennell, the film’s director, wore it on the red carpet.
A dramatic reading of Wuthering Heights in Sarnico, Italy:
Fiato Ai Libri: Cime Tempestose
Voce narrante: Marika Pensa
Chitarra e sequencer: Omar Nedjari
Auditorium "Iginio Ferrini", Via Cortivo, 30, 24067 Sarnico BG, Italy
Fri Oct 30th 9:00pm
The event offers a theatrical reading based on Emily Brontë’s classic, set on the English moors at the house of Wuthering Heights. The story follows Catherine and Heathcliff, exploring the dynamics of a family history marked by intense passions, social tensions, and bonds that struggle to withstand resentment and injustice. The event includes an introductory talk by Stefania Consonni, Associate Professor of Literary Criticism and Comparative Literature in the Department of Foreign Languages, Literatures and Cultures at the University of Bergamo. Nella brughiera inglese si staglia Wuthering Heights, una casa isolata e battuta dai venti. Attorno a essa, una notte d’autunno, si aggira un fantasma in cerca di redenzione. È Catherine che, obbediente alla preghiera di Heathcliff «perseguitami, non lasciarmi solo in questo abisso dove non posso trovarti», torna, ancora una volta, da lui. Così inizia il racconto di una storia familiare, in cui l’amore, nonostante le sue espressioni più viscerali, cerca di sopravvivere alle ossessioni, al rancore e alla maledizion
dell’ingiustizia sociale.
An alert from the Brotnë Parsonage Museum for today, October 30:
Fri 30 Oct, 6:00pm Brontë event Space in the Old School Room
As part of our 10 year anniversary celebrations of Sally Wainwright’s Brontë biopic To Walk Invisible, we're welcoming production designer Grant Montgomery to share his memories of transforming Main Street back to the 1840s, recreating Church Street on Penistone Hill and the Parsonage interiors on a soundstage in Manchester. Grant Montgomery is an award-winning production designer from Scotland. He is best known for establishing the world of Peaky Blinders for which he was nominated twice for BAFTA awards. His most recent work is the Scott Frank show, Dept. Q, a global No. 1 TV show on Netflix. Montgomery’s love of research, storytelling and history has led him to lecture in universities in Ireland and across the UK, delivering seminars on period production design to postgraduate students at York University.
According to Collider, Jane Eyre is one of '5 Classic Books That Are a Masterclass in Prose'. 'Jane Eyre' (1847) I think Jane Eyre was my first "oh wow!" read as a kid, and what I remember most is not Rochester, Thornfield, or even the woman in the attic. I remember Jane. Charlotte Brontë gives a poor, plain, orphaned girl the kind of interior authority nineteenth-century literature was not exactly handing out freely, and Jane uses every bit of it. When Rochester tries to contain her, she answers, "I am no bird; and no net ensnares me; I am a free human being with an independent will." The sentence itself refuses containment: one declaration pushes into its next iteration until Jane has talked herself all the way from metaphor to a plain statement of freedom. That's why Brontë's prose feels so immediate nearly two centuries later. Jane turns a conversation into an existential crisis because the real drama is whether she will betray herself to get something she desperately wants, and Brontë lets us consider every bit of the argument. Jane also talks directly to the reader, collapsing the distance between the girl experiencing the story and the woman who survived long enough to tell it, giving the novel an intimacy that feels startlingly modern. Even when the novel gets wildly Gothic, the prose keeps returning us to one stubborn consciousness asking what she owes herself. Love is important, but so is dignity, and Jane does not simply want Rochester; she wants him without having to disappear inside him. (Linda Chavers)
Elizabeth Hand spins a well-plotted Gothic tale with echoes of “Wuthering Heights” and Daphne du Maurier’s classic novels in her moody historical “Unspeakable Things.” (Oline H. Cogdill) learned [...] a lot of Paul Gordon, who’s written musicals like Jane Eyre and Daddy Long Legs. His piano parts sit strangely well in my hands. A new theatre play about the Brontës opens tomorrow, October 30, in Las Cumbres, Chile:
by Juan Antonio Muñoz Directed by Claudio Pueller With Begoña Basauri, María Jesús Marcone y Nathalia Aragonese October 30 - November 29 Centro Cultural Las Cumbres, Teatro Municipal de Las Condes, Av. Apoquindo 6570, 7560784 Las Condes, Región Metropolitana, Chile
Charlotte, Emily y Anne Brontë, tres autoras fundamentales de la literatura universal, llegan al escenario con Las hermanas del viento, obra que se estrenará el próximo 30 de octubre en el Centro Cultural Las Condes. El montaje cuenta con las actuaciones de Begoña Basauri (Charlotte), María Jesús Marcone (Anne) y Nathalia Aragonese (Emily), bajo la dirección de Claudio Pueller. Esta coproducción de la Corporación Cultural de Las Condes se adentra en la intimidad de la familia Brontë y en el proceso creativo de las tres hermanas, quienes, en la Inglaterra del siglo XIX, debieron enfrentar las convenciones de una sociedad que cuestionaba la creación literaria femenina. Bajo los seudónimos de Currer, Ellis y Acton Bell, buscaron abrirse camino en el mundo de las letras mientras lidiaban con pérdidas familiares, deseos de libertad y sus propios conflictos personales y artísticos. “Para la Corporación es fundamental ofrecer una programación diversa, que convoque a distintos públicos y abra nuevas miradas a través de las artes. Esta coproducción nos permite acercar al público a tres autoras esenciales, cuyas historias siguen vigentes y nos invitan a reflexionar sobre la creación artística y los espacios que las mujeres han conquistado a lo largo del tiempo”, señala Martín Vial, director ejecutivo de la Corporación Cultural de Las Condes.
Una mirada escénica al universo Brontë
Lejos de reconstruir una época o contar una biografía, la obra explora la dimensión íntima y creativa de las protagonistas a través de una puesta en escena simbólica y minimalista. El viento de los páramos se convierte en un elemento dramático recurrente, asociado al anhelo de libertad, mientras la iluminación, el espacio y el universo sonoro dan forma a los conflictos y emociones de las hermanas. “Las hermanas Brontë me interesan no sólo por lo que escribieron, sino por lo que tuvieron que atravesar para hacerlo. Sus vidas estuvieron marcadas por la pérdida, el aislamiento y las convenciones de una sociedad que imponía límites muy estrechos a las mujeres. Sin embargo, no quiero convertirlas en emblemas ni hacer de ellas un ejemplo de resistencia. Me interesa su singularidad, sus contradicciones, sus distintas maneras de enfrentarse al mundo”, explica el autor, Juan Antonio Muñoz. La obra también indaga en la relación entre la vida y la ficción, y en la escritura como una experiencia que compromete profundamente a quien crea: “ese instante en que crear deja de ser un acto voluntario y se vuelve una experiencia física, casi una posesión; cuando escribir significa exponerse, desgarrarse, sobrevivir a algo que no se puede dominar por completo”, agrega el dramaturgo. Para el director Claudio Pueller, el montaje pone el foco en la intensidad de las vidas y los mundos interiores de las protagonistas. “Charlotte, Emily y Anne habitan la escena como presencias atrapadas entre la realidad y la ficción, entre la casa familiar y los mundos que inventan para sobrevivir”. Así, la rectoría de Haworth se transforma en una arquitectura mental que parece estrecharse a medida que las voces de las hermanas intentan expandirse. El montaje cuenta con diseño integral de Monserrat Catalá, creación sonora de Jorge Martínez Flores y propuesta lumínica de Ángel Solovera.
Further information in Culturizarte (Chile).
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