Review: JANE EYRE at Austin Shakespeare

Austin Shakespeare’s production of  Jane Eyre offers a strikingly modern and feminist take on the iconic story of a woman’s resilience against the oppressive forces of her time. With music, movement, and a thoughtful focus on Jane’s journey as a woman rather than just her romantic entanglements, this production breathes new life into the well-known narrative. This National Theatre and Bristol’s Old Vic’s adaptation of Charlotte Brontë’s classic, places Jane's life at the center of the story and explores the deep themes of gender inequality, institutional abuse, and the role of the church in perpetuating these societal injustices. The production very much succeeds at reframing the beloved novel with a bold, unapologetically feminist lens.

The play opens with the stark line, "Is a girl," marking the moment Jane is born and establishing the central theme of the story. This simple, yet charged statement sets the tone for the entire production, underscoring how society, from the moment of her birth, limits Jane’s potential simply because of her gender. It’s a powerful commentary on the status of women in the 1800s, when their worth was often defined by their ability to marry, bear children, and submit to male authority.

While Brontë’s novel has sometimes been criticized for romanticizing Jane’s personal growth, this adaptation shifts the emphasis to Jane’s struggle for autonomy, dignity, and self-worth. Her love for Mr. Rochester remains significant, but it never overshadows the more critical narrative: her fight against a world that repeatedly attempts to crush her spirit.

This adaptation positions Jane’s life at the intersection of feminist ideals and social critique. Her experiences—whether under the care of her cruel Aunt Reed, the mistreatment of girls at the Lowood institution, or the possessive control of Mr. Rochester—highlight the systemic abuse women endured. Throughout the production, Jane’s resilience is portrayed not just as a response to romantic trials, but as a response to a deeply entrenched, patriarchal system.

In the absence of standout performances, there are several moments of brilliance that resonate deeply with the audience. A highlight occurs when a young, wide-eyed Jane (portrayed with youthful rebellion by Taylor Flanagan) befriends Helen (played enchantingly by Cassie Martin) at the Lowood institution. Their conversation about the injustice of a system that only teaches them to be “accomplished” (through piano or sewing) rather than encouraging intellectual or emotional growth is both heartbreaking and inspiring. This scene is a poignant reflection on the limitations placed on women, and the bond between the two actresses makes it unforgettable.

Another pivotal moment comes when adult Jane discovers Bertha Mason (played with haunting intensity by the brilliant Chelsea Manasseri), Mr. Rochester’s mentally ill wife locked away in the attic. In this emotionally charged scene, Jane comes to the painful realization that she cannot, in good conscience, marry a man who belongs to another woman—especially one who is a victim of her own mental illness. This realization frames Jane’s choice not just as a rejection of Mr. Rochester, but as an act of solidarity with Bertha, a recognition of their shared struggle as women in a patriarchal world. The performance is tender and nuanced, revealing Jane’s growth and inner strength.

Amid the darker themes, the production finds moments of levity, most notably in the scene with the young minister (played by the multi-talented actor-musician Michael Morse) who takes Jane in after she flees Mr. Rochester’s home. His exaggerated allegories and ridiculous mannerisms  — particularly the way he gestures toward the heavens every time he mentions the Lord—deliver a much-needed comic relief. It’s a brilliant satire of the clergy of the time, highlighting their absurdity and the ways in which they were complicit in upholding an unjust system.

One area where the production challenges convention is in its portrayal of the relationship between Jane and Mr. Rochester (played by Tim Blackwood). While the chemistry between the two characters may not be as pronounced as in other adaptations, this may very well be a deliberate choice by director Ann Ciccolella to highlight the tension between Jane’s modern, feminist sensibilities and Rochester’s traditional 1800s mindset. In this version, Jane is not the passive, doe-eyed young woman who fawns over a man; instead, she is independent, strong-willed, and unapologetically determined to define her own worth.

The musicality and movement direction are key to this adaptation’s success. As is typical of The National Theatre’s style, Jane Eyre is not just a play—it is a dynamic performance experience that integrates song, instrumental music, and choreography in ways that bring Brontë's world to life in a visceral, imaginative way. The actors are not only skilled in their dramatic roles but also in playing instruments and singing, contributing to the rich, immersive world of the play. The choreography, particularly in the scenes where characters ride coaches or embody animals, is imaginative and highly effective in bringing the audience closer to Jane's emotional landscape. This fluidity of movement—where the boundaries between character and environment blur—is a signature of The National Theatre’s approach to contemporary adaptations, and it works especially well in this context.

Rounding out the cast of multi-talented artists, each playing multiple roles—including animals and musicians—are the lovely Bennie Braswell as Adele/Musician/Ensemble, A.Y. Oza, who brings a hilarious hound to life among his many roles (Musician/Mr. Mason / Brocklehurst / Jane's Father / Ensemble), and Justin Smith, who, in addition to his roles as Musician / Coachman and Reverend, delivers a comedic, nosy, and uptight portrayal of Mrs. Fairfax.

The set, designed by Evonne Paik Griffin, is simple yet purposeful, relying on the audience’s imagination to fill in the space. This minimalist approach keeps the focus firmly on the characters and the story, rather than on elaborate scenery. The costumes, designed by Aaron Kuback, are period-appropriate but understated, reinforcing the timeless quality of the play.

The overall aesthetic of the production is black and white, with one striking exception: Diana (played by the charming Laura D'Ermo), who appears in a bright red dress. This bold choice breaks the monochromatic theme, incorporating a color that carries significant meaning for Jane in the original novel - where Brontë associates the color red with Jane's struggles and childhood trauma. 

Austin Shakespeare’s Jane Eyre is a clever, bold, and invigorating reimagining of a beloved classic. The combination of feminist themes, sharp satire, and inventive use of music and movement creates a unique and thought-provoking theatrical experience. This adaptation offers a fresh perspective on a story we thought we knew, and it’s especially recommended for those in Austin looking for something fresh and daring in the world of theatre. I highly recommend it because of its timely theme and artistic approach to the text.

Jane Eyre

By Charlotte Brontë

Adapted by The National Theatre of Great Britain and The OldVic Bristol

Directed by Ann Ciccolella

Performances: November 9-24, 2024

Thur-Sat @ 7:30 pm

Sun @ 3:00 pm

The Rollins Theater
Long Center for the Performing Arts
701 W Riverside Drive
Austin, Texas 78704

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