As far back as anyone can remember, Cliff Richard has been musing aloud on the possibility of reworking Wuthering Heights, Emily Bronte's epic saga of love, loss, and the supernatural. It is, after all, one of the great romances of all time, one which, once read, never leaves the reader. Kate Bush was so sufficiently intrigued by its moods that she wrote her debut single around the spectral return of the heroine, Catherine Earnshaw; Steve Hackett, while still a member of Genesis, titled one of his most evocative instrumental pieces from the novel's final lines ("Unquiet Slumbers..." from the aptly titled Wind and Wuthering album); pop culture icons Monty Python's Flying Circus even translated one scene into semaphore for a memorable sketch in the early '70s. Richard, however, had grander plans, creating an entire musical around the play, combining with lyricist Tim Rice and guitarist Gordon Giltrap (among others) for a stage show which opened in Birmingham, England, on October 16, 1996. A studio recording of much of the show had already been released, with Olivia Newton-John playing Cathy. For the stage show itself, her role was taken by the unknown Helen Hobson, a surprising choice but, as Heathcliff Live demonstrates, the correct one. She acquits herself phenomenally. Recorded in Birmingham and during the public rehearsals staged in London beforehand, Heathcliff Live is a faithful document of the show, lavishly packaged and beautifully scored. The accompanying booklet offers full lyrics, an interview discussing the development of the project, a diary of key events, and a succession of photographs. In addition, five songs not featured on the studio album have been added to the show. Does it work without the intended visuals? Indubitably. True, some of the spoken word passages do initially seem a little overwrought, but one must remember the environment. Throughout, the live ambience brings a warmth and reality to the project which was occasionally lacking from the studio version, at the same time as allowing vocalists and instrumentalists alike to stretch out a little. When the original version of "Misunderstood Man" was released as a single in 1995, programmers at the BBC's AOR-oriented Radio Two refused to play it because it was "too loud." The live version, all portentous chords and rolling percussion, would probably give them an aneurysm. Heathcliff itself was not the greatest commercial success Cliff Richard has ever been involved with, but, even before it opened (and long before it closed), one got the impression that that was not the yardstick by which he intended measuring it. The accomplishment was in achieving an ambition which dated back to childhood, and in acquitting himself with as much respect and class as the project itself demanded. Heathcliff Live is living proof that he succeeded on every level.
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