I haven’t read the novel Wuthering Heights, and Villanova’s production of the famous love story has left me feeling glad I never made the effort.

Unfortunately, while the actors and team put in noticeable effort to bring the tragic love story to life, it wasn’t engaging. I’m not even sure there was an entertaining story to be brought to life. I’ve heard admirers rave about the novel, “a classic”, “a timeless love story”, so perhaps this script adaptation just hasn’t done the book justice.

Beginning in 1801, we are introduced to the home of Wuthering Heights, where Heathcliff resides. Mr Lockwood, who is moving to his new home at Thrushcross Grange, is visiting the landlord Heathcliff. Lockwood becomes intrigued by the strange atmosphere in the home, and upon arrival to Thrushcross Grange, is informed of the thirty-year turbulent tale of Heathcliff and Catherine. Housekeeper Nelly Dean, who has been witness to all, takes us through the motions of the ups and downs and strange round-a-bouts of how Heathcliff has arrived to his current state. There’s plenty of drama, death, and unrequited love. Sound interesting? Not really.

The role of Heathcliff is huge. A dark romantic, he is powerful and emotional about everything he says and does, and Stuart Waters wasn’t entirely up to the task. As the young and cheeky Heathcliff he was convincing, but in Heathcliff’s later years the role was too weighty for Waters to live up to.

Michaela Widdowson-Kidd as Catherine was more successful in her role, but once again didn’t quite manage to convey Catherine’s complex persona.

Ngaire Lock as Isabelle didn’t make an appearance until the second act but was a breath of fresh air as Catherine’s disgruntled step-sister. She appeared comfortable in her role, unlike some of the other cast who seemed out of their depth at times.

Leo Bradley was another success as Hindley Earnshaw. The drunken and tormented character violently roamed the stage, convincingly expressing his heartache.

The remainder of the cast were adequate, but lacking the conviction and passion that may have given this play more of a chance – if it had one to begin with.

Costumes were appropriate and impressive. Catherine and Cathy wore some striking dresses, while the men’s outfits were just as intricate. Attention to detail was paid thanks to Colleen Lock, Leo Bradley, and Audrey McKibbin.

Set design by Leo Bradley was also elaborate and achieved what could have been complex transitions from past to present time.

The show as a whole needed more oomph, but with a script that I don’t think had much potential, I’m not sure it would have made all the difference.