top of page

HAVE YOUR          SAY.....

Whether you agree or disagree with our critics, we welcome  your comments and will try to include them at the end of the review. 

Please use our contact form 

Entertaining and thought-provoking exposé of the Brontës.

3 hours ago
3 min read

Alice Scott and ensemble. Photo courtesy of The Criterion Theatre.
Alice Scott and ensemble. Photo courtesy of The Criterion Theatre.

Underdog: The Other Brontë. At The Criterion Theatre, Coventry from 26 September to 3 October 2026. Director: Anne-marie Greene.

Review by Charles Essex.

 

The Brontë sisters, towering figures of English literature, only wrote seven novels in total but they have been dramatised numerous times in film, TV series and even a hit pop record.  The play’s title of Underdog ostensibly refers to Anne.  She is perhaps the least well known of the Brontë Sisters if measured by the number of productions of Jane Eyre and Wuthering Heights, written by Charlotte and Emily, respectively, compared to her two novels.  How many time have you seen an advert for a production of The Tenant of Wildfell Hall and Agnes Grey?  Agnes who?

 

But this is Charlotte’s story.  Director Anne-marie gives us a clue in the opening scene, although we don’t realise it at the time, when Charlotte (Alice Scott) alone in the spotlight is surrounded by the admiring ensemble.  With sisters Emily (Nicol Cortese) and Anne (Rosie Pankhurst) in the Brontë parsonage kitchen, we hear off stage the raging war of words between feckless brother Branwell (Connor Bailey) and their father who indulges him, while the backdrop portrays the brooding Pennine Yorkshire moors.   

 

Alice builds Charlotte’s persona, subtly at first as she disparages Anne’s idea of becoming a governess to earn some money for the family.  Emily bridges the gap between the two sisters, younger sister to Charlotte, and elder to Anne.  Nicol gives Emily a gentleness in her dealings with Anne but an increasing feistiness and confrontation when speaking with Charlotte as the story progresses.

 

Rosie wonderfully conveys Anne’s timidity and apologetic unassertiveness, with stammer to boot, who is bullied even by her employer’s children.  Charlotte and Emily have ambitions to be writers but even Anne is driven to write down her painful experiences, and hence the triumvirate of Brontë writers is born.  And so is the rivalry between them.  Anne’s manuscript is the first to be accepted for publication, followed by Emily’s, but Charlotte is resentful and does not share their joy.  Anne pleads with Charlotte to delay publication of Jane Eyre until after her book is published as both plots involve a governess, but Charlotte’s ambition is all consuming.

Rosie Pankhurst and Nicole Cortese. Photo courtesy of the Criterion Theatre.
Rosie Pankhurst and Nicole Cortese. Photo courtesy of the Criterion Theatre.

Alice increasingly builds Charlotte’s self-centredness as she frequently breaks the fourth wall to tell us her truths.  Recollections may vary, as someone famously said, but Charlotte has the floor.  Alice’s portrayal wonderfully captures Charlotte’s self- delusion and hypocrisy as she ironically accuses Anne of narcissism and bullying. 

 

Charlotte becomes the last surviving sister.  She admits that she edited Emily’s poetry and she refused to allow further reprints of Anne’s novel, claiming she wants to defend Anne’s reputation, but it is obviously to enhance her own reputation and diminish Anne’s popularity.  Charlotte’s character is finally fully revealed.


Anne-marie uses the ensemble effectively for crowd scenes, although occasionally some did not project their lines well, and the choreography by Deb Relton-Elves was well-rehearsed and fluent. 

 

Although the plot rightly discusses the iniquitous vulnerability and powerlessness of women in society at the time, as the sisters have to initially publish using male pseudonyms and discussion in literary circles that women could not have written works such as theirs, the power of the play lies in the family dynamics, and the characters that each actor portrays.  Emily gives a rarely heard view, defending Branwell as being a victim of the expectations that are put on men.

 

It is important to remember that Sarah Gordon’s excellent script is rather like those ITV true crime dramas, based on known facts but with some licence of what was said by whom, in other words, it’s all true apart from the bits that aren’t.  The Criterion has put on a play which is both highly entertaining and thought-provoking and thoroughly deserves the enthusiastic applause.

 

 

Comments


bottom of page