Underdog: The Other Other Brontë at the National Theatre

Underdog: The Other Other Brontë, now gracing the stage at the National Theatre, offers a fresh, albeit irreverent, look into the lives of the famed Brontë sisters, whose pseudonymous publications under male guises mark a significant chapter in English literary history. Sarah Gordon’s script injects a robust blend of humour and modern sensibilities into the narrative, setting the stage for a unique exploration of these iconic figures from Yorkshire.

The play opens with a bold move as Charlotte Brontë, portrayed by Gemma Whelan in a performance that balances brashness with vulnerability, directly engages the audience, challenging them to question their perceptions of the Brontë canon. “What’s your favourite Brontë novel?”, she demands. “What is your favourite Brontë quote?”. Her directness sets the tone for a play that’s not afraid to dismantle the traditional pedestals on which these sisters are often placed.

At its core, Underdog delves into the complex dynamics between the eldest and youngest Brontë siblings, Charlotte and Anne, exploring themes of rivalry, recognition and the quest for literary immortality. Whelan’s Charlotte is depicted as a figure torn between her fierce ambition and the societal constraints of her time, while Rhiannon Clements’s Anne offers a poignant counterpoint as the underappreciated talent whose legacy is overshadowed by her sister’s actions.

Gordon’s dialogue is peppered with anachronisms and sharp wit. Poet Laureate Robert Southey is casually brushed off as a “bell end” – and Edward Rochester from Jane Eyre is hailed as a “hottie”. “F*ck that,” cries Charlotte upon hearing of her sister’s success. Visually, the production, co-directed by Natalie Ibu of Northern Stage, refuses to conform to period piece expectations. Grace Smart’s set design starts off with a luscious, heather-filled stretch of moorland, which is quickly and mercilessly stripped away. Audiences are left with an amusing rotating set, populated by a handful of men who embody all the secondary roles: the cruel governess, the dreadful children Anne must look after, theatre critics, and so on. It’s nearly impossible not to chuckle at the sillier moments, but what is it truly trying to say?

In reality, the play’s reliance on humour often detracts from its deeper narrative ambitions. The Brontës’s struggle against the patriarchal constraints of their era, and their contributions to feminist literary discourse, occasionally become lost amidst the play’s more extravagant and comedic sequences. Emily Brontë (Adele James), though present, is underutilised, her profound impact on literature somewhat sidelined in favour of focusing on the sibling rivalry.

Despite this, Underdog is a commendable effort to recontextualise the Brontë legacy, offering a perspective that is as much about the internal conflicts within the family as it is about their external battles against societal norms. It may not revolutionise Brontë scholarship, but provides a spirited, entertaining glimpse into the lives of these remarkable sisters. More importantly, it ignites a renewed interest in Anne Brontë’s works – which is a success in its own right!

Constance Ayrton
Image: Isha Shah

Underdog: The Other Other Brontë is at the National Theatre from 27^th March until 25^th May 2024. For further information or to book visit the theatre’s website here.