Review: WITHERING LOWS: A LOVE STORY BETTER OFF DEAD at Rarig Nolte Xperimental Theatre

Let’s get this out of the way: if you’re looking for a faithful adaptation of Wuthering Heights, keep walking. But if you’re into gothic chaos, bad romance, and a little light spiritual decay, Withering Lows might be your Fringe show of the year.

Created by Nichole Carey and Andrew Lester—real-life spouses who are clearly having a ball destroying each other onstage—Withering Lows is a surreal, self-aware, and deeply funny descent into literary madness. The show is one part Brontë, one part cabaret breakdown, and one part interpretive dance fever dream. Somehow, it works.

Carey stars as Cathy, and she doesn’t so much play the role as unleash it. Her Cathy is a ghostly diva, clinging to melodrama like it’s oxygen. Carey’s performance is a blend of biting wit and full-throated commitment; she knows exactly what kind of show she’s in and steers into the curve. She’s also the writer, and it shows—in the best way. The script is sharp, self-lacerating, and full of references that ping between Brontë and Bumble with wild precision.

Lester’s Heathcliff is brooding, yes, but also unexpectedly hilarious. As both choreographer and designer, Lester infuses the show with physical comedy and dance sequences that oscillate between beautiful and totally unhinged. There’s a moment involving chairs that has no business being as funny—or weirdly touching—as it is.

Kira Pontiff (as Nelly) plays the straight woman in this spiraling love story, and thank god for her. Her dry delivery is a perfect foil to the theatrical mess unraveling around her. Jordan Goette rounds out the cast as Mr. Finch, delivering a kind of melancholy clown energy that fits the show’s tone like a velvet glove dipped in sarcasm.

Director Callie Aho and assistant director/stage manager Megan Guidry clearly know how to ride the line between sincerity and absurdity. The pacing is tight, the tone is carefully managed, and the whole thing feels chaotic without ever falling apart. Which is no small feat when your script includes death, dance, and ghost sex (not necessarily in that order).

Sound designer Scot Froelich deserves a nod for creating a sonic world that supports the show’s tonal whiplash. At one point, I think a breakup is underscored by a horror movie sting—and it works. And shoutout to Reece Jacklitch’s graphic design for the show, which sets the exact right mood before you even walk in.

It’s easy to be cynical about shows that play with genre and tone like this. A lesser production would feel disjointed or too clever for its own good. But Withering Lows doesn’t fall into that trap. It’s self-aware without being smug, emotional without being cloying, and just weird enough to stick in your head long after it ends.

It’s a love story. It’s a ghost story. It’s a breakup letter to Heathcliff, the literary sad boy we’ve all dated in some form. And it’s funny—legitimately, refreshingly funny.

Minneapolis / St. Paul Awards - Live Stats

Best Musical - Top 3

1. 9 TO 5: THE MUSICAL (Eagan Summer Theatre)

13.3% of votes

2. URINETOWN (Buffalo Community Theatre)

10.8% of votes

3. CHURCH BASEMENT LADIES (Rags to Rags Productions)

8% of votes

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