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"The Moors" By: Jen Silverman | Review and Analysis
2017 - Dark Comedy
Upon reading the first few pages of “The Moors”, I was instantly hooked! The story, despite being a period piece, takes on a modern theme with contemporary dialogue. The setting allows for an unnerving, eerie atmosphere that plays importance throughout the entirety of the play, adding to the surprise element by leaving viewers unsuspecting of what will occur next. Furthermore, the dynamics between the characters are thoroughly developed, which is, personally, a vastly important factor, as it allows me to feel a sense of fulfilment once a story is finished, as well as a connection to the characters. Overall, “The Moors” was an easy, pleasant read, and I found myself not wanting to put down my computer while reading this story, compelled to see what would occur in the “bleak moors of England”.
Starting from the beginning of the story, viewers are introduced to two of the main characters, Agatha and Huldey. Agatha, the fierce older sister of Huldey, has a cold, calculating demeanor. She runs the entire estate whilst showcasing very sparse expressions of kindness and happiness to those around her. She is merciless, bold, and considers her strength, even if it appears “heartless” and “cruel” to others, as within the nature of the moors. Huldey, her younger sister, is fame-crazed with touches of humor and obvious sadness that stems from her desire to have attention, acceptance, and, simply, love. The tumultuous relationship between the two sisters acts as the central plot and conflict that carries on throughout the play. Agatha refuses to show any care and kindness towards her sister, repeatedly insulting and chastising her, while Huldey simply wants someone to accept her, talk to her, and show their care for her. Huldey believed Emilie, the newly hired governess, would be that person she needed but, in actuality, Agatha had brought Emilie for ulterior motives. Emilie believed she had been hired by Agatha’s brother, but it had been Agatha who had sent her letters.
Emilie (Miriam Silverman), Agatha (Kelly McAndrew)
Now, the relationship between Agatha and Emilie surprised me greatly! From the introduction of Emilie, it was clear her purpose was more than just being a governess. Her repeated action of asking the whereabouts of Master Branwell let the viewer know she had developed some level of affection for him, while Agatha’s continued rejection of those questions made it clear that something had happened to her brother. However, once Agatha revealed the truth of what happened and that it had been her who sent the letters under the guise of being Master Branwell, I did not expect Emilie and Agatha to proclaim feelings for one another; though, I thought that to have been a wonderfully added element. Obviously, the relationship was no doubt toxic given it was built on lies, entrapment, and Agatha’s manipulative nature.
Nevertheless, it left me wanting to see how their romance builds, questioning somewhat the legitimacy of it all, but also curious as to what happens should their feelings be real. Was Emilie’s declaration of her feelings done because she truly felt for Agatha, or was it done out of feeling entrapment with no place to go? Agatha had claimed she sent letters to Emilie not just because she needed a governess, but because she specifically chose Emilie. Why Emilie? What was it about her? Was she chosen because Agatha fell for Emilie’s personality in the letters, or because she thought Emilie was just best fit to fulfill her personal goals and future plans for the estate? I had so many questions that left me wanting to keep reading and discover the answer to.
Karen Aldridge and Audrey Billings in “The Moors” at A Red Orchid Theatre.
In the case of Huldey, I felt horrible for her and was instantly upset seeing the poor treatment she frequently was dealt. She purely had sought acceptance and love from those around her, as they were entrapped in that estate together, only to consistently be rejected and mistreated. She wrote her thoughts in a dairy, asking those around to listen whilst seeking validation, yet her words were shot down, and the only bit of attention she got was when the maid, Marjory, had brought up the idea of killing Agatha. Huldey, going crazier by the day, had begun entertaining the idea after Marjory mentioned the murder would give Huldey the very thing she had been craving for so long – attention.
Marjory had, like everyone else in that estate, been one of the ones to reject and mistreat Huldey. However, on the topic of murder, which would benefit Marjory, she actually talked to Huldey, making Huldey finally feel heard. She finally had someone not only have a discussion with her, but also provide a solution to the issue she had been enduring alone. While murder is, no doubt, bad, I couldn’t help but feel like Huldey was the biggest victim in the entire story. There is only so much abuse one can take before they finally break. In the end, it was no surprise that that repeated isolation and mistreatment is what ultimately drove her to insanity and murdering her sister.
Karen Aldridge and Audrey Billings in “The Moors” at A Red Orchid Theatre.
To conclude, I want to touch on the last important fact I feel is imperative to discuss, which is Mastiff, the mistreated and depressed dog, and the Moor-Hen, the small chicken. Now, I have an insane soft spot for animals and cannot bear to watch them get neglected. I hated those abuse commercials that showed hurt animals in cages, and I hated to read about it in this play. However, I do feel the story between the Moor-Hen and Mastiff was one that would be beautiful on its own, but took me out of the story and almost had me skipping it while I was reading. It felt quite random, and I thought the Mastiff tended to be extreme. He, like Huldey, was also a victim of abuse who’s lack of proper treatment was what caused his frequent poetic soliloquies, obsession with the Moor-Hen, and drove him to murderous insanity at the end.
Nonetheless, his character felt more like a filler to the story whose purpose was to provide extra awareness towards how isolating and damaging the Moor estate was. That fact was already evident enough to the viewer beforehand, so I feel as though his scenes took away from the main story being told. It was the one point where I felt like the writer had attempted to develop the story in ways it didn’t really need, while also giving the audience a break from the main story that I think would’ve been more beneficial to consistently include.
