Infernal

 Incognito Theatre

16^th-19^th July

Rating: 4 and ½ 

 

‘We will not be forgotten’

Those words seem to echo like a ghostly promise, as we sit in the black box performance space of Incognito Theatre for the return of Room Ones ‘Infernal’.  Originally staged at the White Bear theatre in 2024, award winning director/writer Harry Harding has given this untold story a new lease of life and a fresh intensity. But we’re getting ahead of ourselves, what is ‘Infernal’?

 

Anyone who was forced to study English Literature at school (so 99.9999999% of the UK population) has probably heard of some, if not all of the Brontës.  Whether you fell in love with the tormented Heathcliff, admired Jane Eyres’ tenacity,  or just struggled to navigate the bleak moors of early 18^th century literature, the names Emily or Charlotte Bronte have been in the minds of most young scholars for generations. However, like a reto 90’s boyband (when did the 90s become retro) there are always a few names that fade into the background. With this in mind ‘Infernal’ does the forgotten justice, by reminding us that there were two other living Bronte siblings. The name Anne Bronte (basically the Jason Orange of Take That) may not resonate as much as her sisters, but Mister Harding still gives her much deserved attention in this tale of passion and fiery creativity (she did pen ‘Agnes Grey’ and ‘The Tenant of Wildfell Hall’ after all). But it’s the forgotten brother Branwell Bronte (the Mikey Graham of ‘Boyzone’) which ‘Infernal’ shines it’s light on. 

 

Over the next 120 minutes (including interval), Mister Harding takes us deep into the tragic tale of this tortured young writer. The play begins, like most tragic tales, with a death. We open shortly after Branwell’s demise. With his family united but also separated by their grief, it seems only fitting that the writers spirit returns, almost in rebellion at his unfinished and untold story.  Throughout the play we see Branwell struggle to find his place in the world, and the recognition he so desperately craves. There is something distinctly Edgar Allen Poe about the whole affair as Branwell navigates alcoholism, drug addiction and incestuous desires for his sister Emily.

 

Bronte traditionalists may be confused at why such a figure deserves a play written about them, but as Hardings narrative plays out it quickly becomes apparent that there was more to this man than meets the eye. As the Bronte sisters embark on their own artistic journeys, Branwell is there driving on his favourite sister Emily, with more than a hand in her most famous work. Although this may sound like fantasy,  Harding has clearly done his research and is shining his light on a little known literary theory……

This play in no way undermines the accomplishments of these truly extraordinary women, instead it does what all good theatre should do…..it offers us a fresh perspective and does so with great style. Harding’s writing effortlessly blends familiar Bronte passages with his own words, so seamlessly that it’s sometimes hard to tell where one ends and the other begins. 

 

But it’s in the performances where the play really shines. Griffin James is mesmerising as the tragic Branwell, flitting from manic drunken addicted to forlorn writer. Showing a  characters spiral to self-destruction can be one of the greatest challenges an actor can face. Too much and you risk becoming a caricature, too little and you undermine the characters journey. James handles this challenge masterfully, giving a performance which is both hard to watch (in a good way) and enthralling, especially when it comes to the moments of intimacy between himself and Emily.  However, where James’s skills really shine through is in his quieter moments. When Branwell first reappears as a ghostly spectre there’s a stillness, and a sense of hopeless, a question of was my struggle worth it. Lesser actors would have overlooked this moment, but James gives it weight it deserves. 

Other standout performances come from Cara Heal and Jed McLoughlin. Heal effortlessly brings to life the other forgotten Bronte sibling, Anne Bronte. Her quiet dignity as the go between, from Charlottes stern countenance to Emily’s’ intense flame, is captivating. As an audience, Heal makes us want to read Anne Bronte.  Meanwhile, McLoughlin’s masterful delicateness as the patriarch Patrick Bronte, is wonderfully showcased alongside his charming portrayal of Branwells friend Joseph Leyland. Simply put, McLoughlin once again demonstrates his endless skill and versatility as a performer.

However, a special shoutout must go to Katie Hart, whose portrayal of Charlotte Bronte is one of the highlights of the play. Stern, authoritative but ultimately a figure of sympathy as the last surviving sister, Hart brings to life not only Charlotte but also her creation Jane. Her portrayal beautifully encapsulates the link between creator and creation and should put her at the top anyone’s list for any future productions of ‘Jane Eyre’.

‘Infernal’ is truly a treasure, burning bright and shining light on a lesser known figure in a much bigger story. As a show this production deserves recognition and the chance to spread its wings and continue to evolve. Harding has truly outdone himself this time.