Review: JANE EYRE, Richmond Theatre

Before the world had an understanding of the word feminism, Charlotte Brontë was delivering a masterpiece tutorial in female independence and emancipation. Jane Eyre demonstrates that being plain and poor is no barrier to a desire for knowledge and the quest for love and liberation.

The story is of an unloved orphan girl, sent to boarding school by her callous aunt. Despite a cold and harsh life, Jane eventually becomes a teacher at the school and then moves to become a governess, working for the darkly brooding Mr Rochester. The couple fall in love, but must try to overcome sinister secrets and internal battles about ethics, morality and justice.

2017 marks the 170th anniversary of the publication of Charlotte Brontë's seminal classic. The difficulty with awarding the accolade of 'classic' to any book, is that it has often been done to death, either on stage, in film or by repetitions in the school curriculum.

Producing a show that renews interest and registers a fresh or interesting perspective is very hard, especially if you want to stay faithful to the merits of the text. Olivier award-nominated director Sally Cookson manages to maintain all the dark suspense and emotion contained within the pages of the novel. Jane's refusal to be constrained by the edicts of society and find her own way in the world remains the central theme. There are some very intelligent ideas, such as some of the cast speaking to Jane as her own consciousness, so her important thought processes are evident to the audience.

Among a very talented cast, Nadia Clifford is mesmerising in the title role. Her progress from frustrated and petulant child into independent young woman is well defined. She captures the intensity of the character brilliantly.

Tim Delap's Rochester is suitably brooding and curt and Paul Mundell gives a surprisingly convincing performance as Rochester's dog Pilot, injecting some unexpected, but not unwelcome, comedy into the show. Cast members often play several roles, demonstrating great adaptability and speed in transformation.

This production was originally shown at the Bristol Old Vic in two parts but now, as a National Theatre co-production, has been combined into a single three-hour show. Shedding an hour from the original production has made it more accessible, but important elements of the story are necessarily cut short. Jane barely has time to get to know her best friend Helen, before she is dead from consumption. The crucial part of the novel where Jane inherits her fortune and discovers a new family is also missing. This does deny Jane an important element to her story that when she returns to Rochester she does so as his equal.

This is a multi-layered production; the use of fire is a crucial part of the story, but is also suggested as a metaphor for the character of Jane. This is a subtle but thoughtful reference to Brontë's narrative, which often associates Jane's character with fire.

Michael Vale's set of wooden platforms, ramps and steel ladders is simple but enables the cast to constantly move and shift perspective. Aideen Malone's lighting design is perfectly judged, with clever use of hand held lights and coloured backgrounds.

Benji Bower's often folksy musical composition is a wonderful accompaniment and compliments the action perfectly. As Bertha Rochester, Melanie Marshall is given the role of a solo Greek chorus. She has a very impressive vocal range and a distinct clarity which is truly beautiful. The use of haunting adaptations of 'Mad About The Boy' and Knarls Barkley's 'Crazy' are distinctly modern, but brilliant additions and give Bertha a voice that she lacks in the original text. There is a very clever ambiguity about who the words are describing; is it Jane or herself?

Despite the many risks in tackling such a ground-breaking novel, this production is a an intelligent and totally captivating adaptation.

Jane Eyre is at Richmond Theatre until 17 June then touring

Photo Credit: Brinkhoff/Mögenburg

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