You On The Moors Now is a literary and theatrical eruption that tears through the narratives of 19th-century heroines with all the subtlety of a battle cry.

It is inspired by four 19th century novels: “Pride and Prejudice” [1813], “Wuthering Heights” [1847], “Jane Eyre” [1847], and “Little Women” [1868-69], “You on the Moors Now” by Jaclyn Backhaus.

“You on the Moors Now” is what happens when the Brontës, Jane Austen, and Louisa May Alcott go to a feminist rage room together and rewrite their own novels. The show gleefully detonates the corset-tight constraints of 19th-century romance plots, giving us heroines who stomp, shout, sword fight, and side-eye their suitors into emotional oblivion. It’s messy, wildly theatrical, and smarter than it has any right to be.

Set in a mythic wilderness where the moors become a surreal playground of feminist reckoning, the “no” that each heroine gives to her respective suitor in the opening is not just a personal refusal—it’s a systemic one. Backhaus doesn’t simply ask what happens when literary women say no to love; she asks what happens when they say no to structure, genre, and the male gaze entirely.

Characters speak in heightened poetic bursts, slam into pop culture references, and slip into stylized battle scenes. What makes You On The Moors Now truly intelligent is its self-awareness. These women are complex, contradictory, sometimes insufferable.

The quartet of women deliver hysterically volatile performances.

Rosalynde Trammell as Cathy Linton is both bold and nuanced, capturing the character’s passionate nature while infusing her with a modern sensibility. Trammell’s performance for her depth and authenticity, with a fresh take on this classic character. 

Tali Russell brings Jo March to life with infectious energy and wit, embodying the character’s independent spirit and determination. Russell is both heartfelt and humorous, making Jo’s journey of self-discovery relatable and inspiring.

Stephanie Rodger as Lizzy Bennet is sharp, intelligent, and full of charming warmth. Rodger skillfully delivers an engaging and thought-provoking character adding a contemporary edge to this beloved heroine.

Emma Dunlop as Jane Eyre blends strength and vulnerability to Eyre’s inner turmoil and resilience. Dunlop offers a provocative exploration of love and identity while providing a fresh perspective on a well-known tale.

Then, the suitors: Mark Roberts as Mr. Darcy broods so hard he could power a small Victorian village with sheer emotional repression. Roberts’ Darcy is less a man and more a walking cloud of rain and judgment.

Tylar Jahumpa’s  Mr. Rochester rolls in with red flags flapping—mysterious, intense, and one attic fire away from being a full-blown insurance liability. Laurie (aka Theodore Laurence) played by Tyler John is rich, charming, and has golden retriever energy, but he’s also that guy who thinks “no” means “try harder, but with flowers.”

Kevin Thibault’s performance as Heathcliff, is a goth cryptid raised by vengeance and wind—if emotional damage were currency, he’d own half of England. Together, these suitors are the literary Avengers of red-flag romance, and the play gleefully kicks them to the curb.

With an ensemble cast of 13 performers, applause must go to Morgan Salpietro, director, who brings an imaginative and fearless vision to the stage. Salpietro blends literary classics with bold, contemporary storytelling crackling with energy, pushing boundaries while honoring the emotional core of the characters. Brava!

In an era where feminist narratives are often commodified into sleek empowerment slogans, You On The Moors Now is refreshingly unruly. It dares to let its heroines be messy, angry, and unresolvable. It’s a play that trusts its audience to navigate discomfort, to wrestle with history, and to imagine new forms of storytelling—unpolished, imperfect, but free.

Who: The Players

Where: Barker Playhouse

400 Benefit Street, Providence

When: May 9, 10, 16 & 17 - 7:30 PM; May 11 & 18 - 2 PM

Tickets: Box Office: 401-273-0590

www.playersri.org/main-stage