Casting has been set for the workshop development process for a new Wuthering Heights Musical.

Based on the Brontë classic tale about tortured love on the Yorkshire Moors, the show is written by father and daughter duo Mick and Lizzie Lister, with book and lyrics by Lizzie Lister, and music by Mick Lister, Lizzie Lister and Clare Lonsdale.

Set to appear in the workshops are, Cleve September (The Little Big Things, Hamilton) as Heathcliff, Lara Denning (Everybody’s Talking About Jamie, Matilda) as Nelly Dean , Rhys Whitfield (The Phantom of the Opera, My Fair Lady) as Edgar Linton, Jasmine Hackett (Six) as Isabella Linton (Six), Luke Friend (American Idiot, Footloose) as Hindley Earnshaw and Lizzie Lister as Cathy Earnshaw.

The ensemble includes Marco Venturini, Anna Van Der Wolf, Ashley-Jordon Packer and Grace Hope Charles.

This new musical adaptation of the Brontë classic has a creative team led by director Racky Plews, producer Emily Obasohan and choreographer Jared Hageman. Composer and arranger Mick Lister is musical supervisor, and casting is by Matt Sheppard.

Full production details are to be revealed at a later date. (Alex Wood)

Part of the answer lies in the way the gothic has always focused on a sense of place. It has a long tradition of depicting its physical locations as almost mystical and sentient. After all, what would Wuthering Heights be without the brooding moors, or Jane Eyre without Thornfield and all the secrets locked away in the attic? Dracula thrives off the terror of Carfax Abbey and Castle Dracula, and it’s virtually impossible to remember The Picture of Dorian Gray without his mansion and its hidden room and hidden portrait. These locales are filled with just as much nuance and complexity as the characters that dwell within them. They’re strange and dark and haunted, untold dangers lurking at every turn. (Gwendolyn Kiste)

'Wuthering Heights'

Emily Bronte's Wuthering Heights is often categorized as a Gothic novel due to its remote and gloomy Yorkshire setting alongside themes of passion and revenge.

The tempestuous relationship between Catherine Earnshaw and Heathcliff unfolds in a narrative that spans generations.

Bronte's complex characters operate within an atmosphere charged with emotional intensity that is emblematic of Gothic fiction. (Anujj Trehaan)

I can now see (a realisation I wish I’d had a decade or two earlier) that Cathy’s “he’s more myself than I am” in Wuthering Heights wasn’t romance, but crippling co-dependence, and as a therapy-educated recovering toxic-love-aholic, I recognise the same intermingling of selves, so easily done with our very own mini-mes, can doom maternal relationships, too. (Rebecca Cox)

Today, [Emily Dickinson's] work is held in extremely high regard not just in the literary world, but among anybody who can find common ground with this brilliant loner and her meditations on love, death and mental health from a perspective that up until that point hadn’t really received any popular consideration. In particular, her work resonates with women, who often struggle to find themselves represented in a largely male-dominated literary canon. It sits alongside that of writers like Sylvia Plath and Charlotte Bronte as an example of the defiant and enduring power of women’s voices over time, and helps remind modern readers of the universality of even the most private experiences. (Ryan Coogan)