SALT LAKE CITY — The New York Times described Jen Silverman’s masterful script The Moors as “the reason we go to the theatre.” It also happens to be one of my favorite plays. Fortunately, Westminster Theatre Department does the unique and compelling dark comedy justice. The Moors, considered a gothic feminist thriller and comedic farce, explores many relationship themes through an absurdist lens, including love, power, desperation, and visibility.
In the mansion home of Master Branwell, sisters Agatha and Huldey spend their days together along with a large Mastiff. Emilie, invited by Master Branwell, arrives at the mansion assuming she is there to be the family’s new governess. She has been communicating with the Master through letters, though she becomes suspicious as Branwell is now nowhere to be found. As Emilie attempts to make sense of her new surroundings, the eerie English Moors begin to make their mysterious nature known, setting the characters on surprising and violent paths.
Directed by Jared Larkin, this production is exceedingly thoughtful. With a unique structure, The Moors fluctuates between a period piece and a modern present. Language styles and even character’s personalities change throughout, seemingly crossing time and space. It is explained “that’s how time works out here,” and that, “all things here are possible.” The rooms in the mansion seem to be interchangeable and there is a general strangeness that covers the piece and keeps you guessing. The Moors are bleak and dangerous, leading to mystery and contemplation. Larkin’s direction had me hanging on every word. My only complaint would be the long scene changes.
Along with Larkin’s direction, the design elements come together to create the chilling and ethereal atmosphere of the Moors. The quality set design by Maddie Keil features an intricate Victorian inspired house where all the inside action takes place, while green vegetation and thick fog depict the outside. The rain falling down the windows was a particularly nice touch. Sound design by Josh Jacobson accompanies this perfectly, and I appreciated all of the atmospheric sounds, such as animal noises and whistling wind. Spencer Brown’s largely blue and green lighting design also did a great job at setting the tone and tying together all of the design elements and color palette, including the costumes.
Costume design by Andrea Davenport also featured greens and blues and I liked the contrast in the dresses of the women based on their character traits. I enjoyed how the costume of the Mastiff looked more human-like than dog-like, but also had elements like a trapper hat and a dog tag that brought in dog-like qualities. Similarly, the costume of the Moor Hen included feathers to enhance the bird-like qualities.
As the older sister Agatha, Charlotte Gordon is stern and commanding. It is evident that she is in charge and her cold and emotionless nature emphasizes the dry humor in her role. Although the production is dark and thrilling, all of the characters are quite humorous. Gordon’s witty and deadpan delivery was key to the strength of her character. The younger sister, Huldey, played by Myranda Lloyd, is more emotional but less grounded than her sister and desperate for attention. Lloyd plays the character as excitable, socially awkward and emotionally unhinged. Her emotions shift frequently, and she often depicts opposing facial expressions to what she is describing, smiling while expressing being sad, for example. Her humor was more physical and dramatic, playing very well.
Trinity Medina plays the role of Emilie naturally and exuberantly. As one of the more realistic characters in the show, it is fun to watch her journey as the Moors and the sisters begin to take effect on her, changing her desires and demeanor. As the Maid, Marjory, Chloe Mizantzidi plays perhaps the strangest character as she shifts personalities constantly. Mizantzidi’s strange actions and movements help to emphasize this, and her interactions with Huldey are particularly funny.
Tu’imana Talanoa as the Mastiff and El Patterson as The Moor Hen showcase nice chemistry as they develop a meaningful and revealing relationship. Both actors emphasize their animalistic qualities well during deep, existential conversations. The entire cast is strong and each member has significant monologue moments to shine. Because the cast did a good job forming connections and infusing humor into their roles, there were a few times where multiple characters break, showing smirks on their faces. This was more cute and endearing than anything, and honestly I couldn’t really blame them.
The Moors looks deeply at the need for mental, emotional, and physical connections. The characters desperately want these needs met, and sometimes go to drastic lengths to achieve what they hope will meet them. The emotional stakes lead to characters controlling and manipulating others because of love, hate, and self-gratification. Upon pondering these themes, The Moors stressed to me that having somebody that will listen to us, that we can share our feelings with, and will let us be ourselves is invaluable.
