Upon entering the auditorium at Northern Stage to watch ‘Underdog: The Other Other Brontë’ audiences are immediately transported to the romantic heather-strewn landscape of the Yorkshire Moors, faced with the striking image of moorland sat atop the revolve centre stage and an immersive pre-show birdsong soundscape. Costume and set designer Grace Smart intended for the initial visual of the moors to be ‘an image that you’re never going to see again’, as soon after Charlotte’s opening monologue, the moors ascend to hang above the stage for the remainder of the play, revealing a darker underbelly of hanging roots and a scuffed black backdrop that set the tone for the impending conflict between the Bronte sisters. The moorland ceiling piece was mostly fashioned out of recycled contra which created a more solid effect when viewed from the top, but left holes and gaps that allowed top lights to pass through. This set piece cleverly incorporated several features used later in the show, including an almost camouflaged noose that, for an observant audience member, foreshadowed Branwell’s attempted suicide, and several small lanterns amidst the roots that snapped on as the ensemble threw their hands up on ‘I rearranged the stars to make room for her arrival’.
Below the ceiling piece the set was simple, consisting of a scuffed black backdrop and a double concentric revolve which delivered characters and set pieces to stage (Charlotte’s memories) as well as creating a higher level for Charlotte to stand on as her deceased siblings sit on the stage floor below at the end of the play, signifying her isolation. Act 2 opens with a comically slow moving carriage on the revolve, which rapidly increases its pace the moment they disembark. The gradual revelation of the dancing members club in Act 2 was particularly funny, especially alongside the disco-esque rapidly changing blue and pink lighting states which created an unexpected contrast to the drab Victorian furnishings and pinstripes of the rest of the show.
Smart’s use of colour in her costuming creates masterful symbolism and groupings within each stage picture that speak volumes about the characters themselves. The striking red of Charlotte’s costume not only singles out her power in relation to her sisters, but notably associates her with masculinity, as the jackets and laces of the male ensemble were the same shade of red, and the plot has a significant focus on her frustrated fight for the same respect as her male counterparts. When the ensemble costume changes to blue pinstripes and top hats, Charlotte is visually unable to keep up, placing only a top hat on her head, aligning with the feminist social criticism of the piece.
The final image of Charlotte within a lit display case in an exhibition is striking, and an apt conclusion to her story, as she is ultimately unable to maintain control of the narrative forever, and is instead displayed for the world to scrutinize and perhaps more importantly, alone.
Underdog: The Other Other Brontë is available to stream on National Theatre at Home.
Playwright- Sarah Gordon
Director- Natalie Ibu
Set and Costume Designer- Grace Smart
Lighting Designer- Zoe Spurr
Sound Designer & Additional Music- Alexandra Faye Braithwaite
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