ENSEMBLE

created and performed by Theater Reconstruction Ensemble

written by Jaclyn Backhaus

conceived and directed by John Kurzynowski

Performers: Harlan Alford, Michael Barringer, Nathaniel Basch-Gould, Sam Corbin, Eben Hoffer, Lena Hudson, Emily Marro, Preston Martin, Anastasia Olowin, Jon Riddleberger, Kelly Rogers, Claire Rothrock, Patrick Scheid, Lauren Swan-Potras

Producing Director: Reed Whitney

Sound Design: Alex Hawthorn | Lighting Design: Marika Kent | Scenic and Costume Design: Joseph Wolfslau | Stage Manager: Kristy Bodall | Technical Director: Markus Paminger | Asst. Sound Designer: Adrianna Brannon | Asst. Lighting Designer: Brian Abbott | Press Rep: David Gibbs / DARR Publicity


SYNOPSIS

You On The Moors Now is a sprawling theatrical examination of four well-known literary heroines of the 19th-century and their shocking rejection of the men who so ardently loved them. What results is a confluence of love, anger, grief, haunting, bloody battles and single tears shed by an ensemble of actors struggling to reconcile the romantic confines of the past with their own contemporary ideas of courtship. You On The Moors Now takes everything you’ve ever learned about love, gleaned from the pages of Pride and Prejudice, Jane Eyre, Wuthering Heights, and Little Women, and puts it somewhere in the tall grasses, hidden from view, where only the truly brave will ever traverse to earn it.


photos by Suzi Sadler / video by Michael Barringer


press

‘You On The Moors Now’ uses canonical characters to provide a cutting commentary on the kind of gender norms that bloggers and personal essays writers are tackling every day.
— Flavorwire
 
‘You On The Moors Now’ is a wild send up of classic literature and an examination of women’s rights in a time that was sorely lacking in that category. Theater Reconstruction Ensemble develops their work over long periods of time and ‘You On The Moors Now’ is the culmination of two years of development. Their efforts have paid off with a hit.
— New York Theatre Review
The cast begins tearing up the floor boards of the stage. Underneath, there are pages of their stories scattered everywhere, poking up through the cracks in the floor. They do it because these characters and tropes are deeply ingrained into our culture. These battles for feminism and equality are colored by them. Until the foundation is torn up and the toxicity revealed for the world to see, men and women will continue to be held back. There needs to be a chance for another ending to be written, one where Elizabeth Bennett got an Alzheimer’s research grant, Jo is a war correspondent, and Jane Eyre is an astronaut. That is an ending worth fighting for, and a show and message worth celebrating.
— Ludus NYC