Review: UNDERDOG: THE OTHER OTHER BRONTË, National Theatre

The Brontë sisters have long been considered an essential part of the British literary canon. Their stories, once scandalous, are now loved by generations of readers. There’s also no secret that they had to fight for their voices or words to be heard. Both against the system and, in Sarah Gordon’s new play, against each other, too. 

A co-production between The National Theatre and Northern Stage, Underdog: The Other, Other Brontë, is an attempt to shed light on the life of the “other, other Brontë,” Anne. Despite being the author of what is now considered “one of the first feminist novels” (The Tenant of Wildfell Hall), her work is generally lesser known than that of her sisters. As a result, there’s only a fleeting amount of information about the person behind the pen - aside from accounts given by her sister, Charlotte.

For this reason, it's hardly surprising that the version of Anne conjured up within this production is also constructed by Charlotte. In fact, the play opens with Charlotte describing her intentions to share her sister’s story, requesting that we not judge her too harshly for what is about to transpire. 

Underdog is a story of sisterhood, but it would be perhaps better to describe it as a story of ambition. All sisters dream of being able to write - but none as vivaciously as Charlotte, who dreams of being remembered. While this ambition is crucial as the women begin to enter a notoriously patriarchal industry (even publishing under male pseudonyms, to begin with), it eventually causes fractures within their relationships, too. Friendly rivalry becomes a direct competition, and success is no longer shared. 

While there are a lot of dramatic moments within the production, Underdog is largely a comedy. Modernised language and tongue-in-cheek humour allow audiences to resonate with the sisters on a deeper level, introducing them to us in an entirely new way. 

Much like the real-life Charlotte Bronte, Gemma Whelan is a force to be reckoned with on the National Stage - commanding the audience’s attention throughout. Here, expert comic timing and a real humility allow her to present a version of Charlotte that is both shameless and ashamed of her actions. She’s partnered nicely by Rhiannon Clements as Anne, whose ambition proves to be just as strong as that of her sisters. Clements brings a much-needed tenderness to the stage, which reaches its heights during a particularly heart-wrenching scene in Act 2 with Adele James as Emily. 

Emily is notably absent for large portions of the script, but James’ makes the most of every second she has on stage. The trio are backed by a talented ensemble throughout, who are largely used as comedic relief - earning some of the bigger laughs of the night. 

Though there's a lot of talent to be found within the cast, the staging is perhaps the most impressive aspect of Underdog, with designer Grace Smart creating a truly stunning stagescape featuring hanging flowers, moss, and leaves. 

The play is a remarkable study of ambition and sisterhood and how we can sometimes stand in the way of those we love. Despite this, its political commentary could be harder-hitting, especially considering how much these women were up against in entering the publishing world. 

Either way, directed by Natalie Ibu, Underdog The Other, Other Brontë is an ambitious retelling of history, one which celebrates female strength above all else. 

Underdog: The Other, Other Bronte plays at The National Theatre until May 25. It will also be performed at Northern Stage from June 7 to 22. 

Photo Credits: Isha Shah

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